Ride Along

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Kevin Hart doing a stand-up routine about the making of Ride Along would probably be funnier than the movie itself. An excitable, insecure motormouth, Hart has peppered such specials as Laugh at My Pain with high-pitched ruminations on his physical stature (he stands five foot four) and insufficient gangsta skillz. His frightened but common-sense demeanor refutes what’s expected of Scary Black Men. He’s a great talker, and some of his more amusing bits in Ride Along, I’m guessing, were improvised. Hart will say something that sounds scripted, then natter on for a couple of extra beats, and the nattering is what makes his character seem like a real person, and what gets a laugh.

Hart plays Ben Barber, a school security guard (aside: only in these times would Ben’s job be sadly plausible) who hopes to make it through the police academy and become a true cop. This, Ben also hopes, will impress stoic rogue cop James Payton (Ice Cube), whose sister Angela (Tika Sumpter) Ben wants to marry. James has been looking out for Angela since they were both foster kids, and he disdains the flighty, videogame-addicted Ben. (Ben’s videogame fixation, gamers will be happy to learn, pays off later on several levels.) Ben asks James’ blessing to ask for Angela’s hand in marriage, and James proposes a challenge: Ben must accompany James on a ride-along to show how well or poorly he takes to police work.

This could allow for some mismatched-partner laughs, and it does; Ben’s panicky attempts to look like a hard man in front of James rub up against James’ complete lack of surprise that Ben is a soft man. Ice Cube was probably funnier in a small role in 21 Jump Street, but then again he didn’t have to watch his language there as much as he does in this PG-13 movie (he does get to drop one F-bomb). Unfortunately, Ride Along is shackled to a lazy plot involving a master criminal (Laurence Fishburne) James has spent three years trying to take down. It also involves crooked cops, the time-honored police captain who exists to tell the hero he Crossed the Line, and a scene where Angela ends up at gunpoint.

Predictability is the enemy of surprise, and surprise is the essence of comedy. I’m not talking here about well-known characters on sitcoms who behave amusingly predictably; I’m talking about a plot that cancels out any possibility of freshness or invention. The movie isn’t loose enough to let Kevin Hart run wild with sustained riffs; he’s trapped inside the stodgy, stifling structure. Ride Along doesn’t offer the randomness and digressions of the similar, superior The Other Guys, and once again I find myself wondering what the film might’ve been like if Hart and Ice Cube had swapped roles and played against their personae.

What else is there to say about such a lightweight thing? Well, given that it’s directed by and mostly starring African-Americans, it’s blandly post-racial; for the most part, white guys could’ve played the roles and it would shake out roughly the same. Is that progress or homogenization (and shrewd packaging for what the money guys call “the urban audience”)? Eddie Murphy’s early cop comedies were very aware that he was a black man in a largely hostile white world; they couldn’t have played the same if he were white, or, at least, Murphy made Beverly Hills Cop (originally a Stallone vehicle, I believe) a story about a specifically black man among the gilded and ivory. But such awareness would founder here, because the movie isn’t interested in how actual, specific people of any color would behave. There’s truly nothing to James’ character other than his protectiveness towards his sister and his mission to get the big bad guy; Kevin Hart takes over by default, filling the void with abbreviated patter. Like the comparably easily-frightened, anti-macho Richard Pryor, Hart might best be optimized alone onstage, weaving absurd mind-movies at a hundred miles an hour.

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