Films about people who believe in the philosophy that you can fake it until you make it are a hit in spades. For example, there's Joel Coen's The Hudsucker Proxy, about a low-level office worker who becomes the CEO of a manufacturing company because his board of directors wants to tank its stock, but ends up turning the establishment into a smashing success.
Chandra Barot's The Don features a street musician named Vijay, hired by DSP D'Silva, because he looks identical to the titular gangster, to infiltrate Don's gang. But when D'Silva is killed, Vijay must find a way to prove he's not a real gangster. Richard Linklater's Hit Man features a psychology professor who pretends to be a hitman to weed out those who want to kill someone, but eventually gets too involved with a "client," leading him to become a real hitman. However, the one that reigns supreme is Alec Berg and Bill Hader's Barry, where the titular hitman joins a comedy improv class to fulfill his dream of becoming an actor. Deep Cover has entered the field to make its mark on this subgenre.
Director: Tom Kingsley
Writers: Derek Connolly, Colin Trevorrow, Ben Ashenden
Stars: Bryce Dallas Howard, Orlando Bloom, Nick Mohammed
Tom Kingsley's Deep Cover tells the story of Kat, a teacher at a comedy improv club; Marlon, a struggling actor; and Hugh, a disgruntled employee in an office job. Marlon frequently attends Kat's classes, and Hugh, in an attempt to be more sociable, becomes her student. One day, Billings of the Metropolitan Police approaches Kat with the opportunity to make easy money by checking a local convenience store for counterfeit cigarettes. All she has to do is pretend to be a drug dealer. Kat accepts the job and convinces Marlon and Hugh to join the cause, as she needs support to achieve this. However, as soon as they enter the store, the trio is sucked deeper into the rabbit hole, where they run into a notorious gangster named Fly, his right-hand man, Shosh, and his boss, Metcalfe. Of course, Kat, Marlon, and Hugh want to get out after witnessing the atrocities they're capable of. However, since this seems like an opportunity to dismantle a major criminal network, Billings orders them to stay put and continue improvising until he says otherwise.
Despite having four cooks (read: writers) in the kitchen, Deep Cover isn't all that groundbreaking. It's as if the four watched Barry and imagined what would happen if, instead of a criminal entering the entertainment industry, people from the entertainment industry strutted into the world of crime and just went with the flow. No one seems to have considered that this concept has been discussed several times before; Therefore, they would have had to do something new with the characters, the jokes, and the plot revelations to stand out. Every unexpected twist is noticeable from the start. The characters never break from their stereotypes, and even if they do, it's pretty indifferent. But the worst part is that it takes too long to throw the central trio into the abyss. I mean, they're in the abyss from the moment they meet Fly. However, the way they lose their minds and the ease with which they agree to continue with this "job" doesn't raise the stakes. We never understand why they're so willing to go all out. If the characters aren't desperate, the film's "wrong person in the wrong job" gimmick doesn't work.
Tom Kingsley's direction in Deep Cover is excellent. I think there were plenty of opportunities to elevate the material with some sight gags or, you know, improvisational comedy. But he plays it too safe to achieve anything out of the ordinary. The two moments that are memorable are the trio's encounter with a villainous character named K-Lash and the scene where the trio has to dispose of a body. K-Lash's one works on several layers. For starters, K-Lash isn't selling drugs; he's selling laughing gas... to three improv comedians. Then, his costume design gives off major voodoo magic vibes. So when you see the trio unable to get out of their labyrinthine lair, it's funny because you don't know if the trio is that stupid or if K-Lash actually has any magical powers. As for the body disposal sequence, it's probably the funniest chase I've seen since Hot Fuzz, as it makes you question whether the trio is really that good at evasive maneuvers or if the police are just that incompetent. And then there's the ending, which is pretty explosive. However, since all of this happens toward the end of the film, there's a lot of tepid humor to wade through to get there.
The only redeeming feature of Deep Cover, and the reason I've given it such a positive rating despite all my complaints, is its cast. Orlando Bloom is simply fantastic. He's like Adam West's version of Batman because, despite the absurdity of the situation, he always plays it with a straight face. He's so committed to the role that he's blurred the line between Bloom, Marlon, and Roach. And this role is especially funny given Bloom's recent attempts at becoming a macho, testosterone-fueled actor, such as in Red Right Hand Man. Bryce Dallas Howard is as incredible as ever. Nick Mohammed is adorable and hilarious.
Sean Bean has gotten so good at what he's famous for that I can't help but applaud his dedication. Paddy Considine already proved this year with MobLand that he's one of the best, but that obviously hasn't stopped him from delivering another great performance. Ian McShane, despite his limited screen time, is a lot of fun to watch. Sonoya Mizuno is brilliant. Her screen presence and aura are hypnotic. I don't know what it will take for the film industry to put her at the center of all its projects, but it has to happen soon. Ben Ashenden, Alexander Owen, Nneka Okoye, and the rest of the supporting cast are truly brilliant.
Deep Cover is worth seeing solely for its talented cast. The film certainly doesn't aim to reinvent the crime comedy subgenre. If you haven't seen any films with this kind of premise, I'm guessing it will feel new and fresh to you. For others, it will probably feel like more of the same. As mentioned, there are some thought-provoking moments. But by the end credits, you'll probably struggle to remember anything meaningful, which is fine, especially if you're looking for a movie that allows you to have a good time without forcing you to use your brain cells.
That said, would I be interested in seeing the central trio infiltrate more gangs and embark on all sorts of crazy adventures that will test their improvisational skills? Absolutely. I like this kind of British comedy. I love the actors involved. But something has to change in the writers' room before that happens. I don't know how four writers can work together and create something as shallow and unoriginal as this. I'm probably making it sound too serious because the poor quality of the film isn't going to cause the end of the world or anything. Maybe I'm just annoyed that all these excellent actors didn't get the material they deserved. Well, there's always next time.
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