A rookie officer is teamed with a hardened pro at the California Highway Patrol, though the newbie soon learns his partner is really an undercover Fed investigating a heist that may involve some crooked cops.
Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
In a twisted social experiment, eighty Americans are locked in their high-rise corporate office in Bogotá, Colombia, and ordered by an unknown voice coming from the company's intercom system to participate in a deadly game of kill or be killed.
John Gallagher Jr.,
Jon Baker (Shepard) and Frank Ponch Poncherello (Peña) have just joined the California Highway Patrol (CHP) in Los Angeles, but for very different reasons. Baker is a beaten-up former pro motorbiker trying to put his life and marriage back together. Poncherello is a cocky undercover Federal agent investigating a multi-million dollar heist that may be an inside-job inside the CHP. The inexperienced rookie and the hardened pro are teamed together, but clash more than click, so kick-starting a real partnership is easier said than done. But with Baker's unique bike skills and Ponch's street savvy it might just work...if they don't drive each other crazy first. Written by
Greetings again from the darkness. In a Hollywood self-congratulatory
world that considers sequels, reboots and remakes as creative projects;
and imitation as the most sincere form of flattery not to mention the
safest hedged bet it's not in the least surprising that we now have a
film version of "CHiPs", a lightweight and popular TV show that ran
from 1977 through 1983. What should be surprising is that a studio
entrusted Dax Shepard with the ultimate slash role of
Director/Writer/Producer/Actor for this contemporary version.
Of course, as with film versions of "21 Jump Street" and "Starsky and
Hutch", the target audience isn't really those who watched the original
TV series, but rather the group of big-spending millennials who seem to
thrive on raunchy humor, while placing minimal value on a coherent or
interesting story. Buddy cop films that blend tense drama,
wise-cracking partners and eye-widening action have long been popular,
with the jewel of the genre being Lethal Weapon. This latest entry does
nothing to threaten the now 30 year reign of Mel Gibson and Danny
Dax Shepard stars in his own film as Jon Baker, now reinvented as a
former X-games motorcycle champ who is attempting to save his
long-fizzled marriage by becoming a cop. The rookie's partner is
undercover FBI Agent Frank "Ponch" Poncherello played by Michael Pena.
Each has their own personal issues: Jon is addicted to prescription
painkillers, and Ponch struggles to control certain urges and
unfortunately for viewers, the two spend an inordinate amount of time
discussing these issues.
The crime wave they are attempting to bust involves a corrupt cop.
Seeing that Vincent D'Onofrio is in the cast immediately takes away any
mystery about the bad guy's identity, but were there any doubt, the
film exposes him in the first action sequence. After that comes the
onslaught of verbal sparring, explosions, gunplay and one especially
With Dax Shepard at the helm, we understand going in that the raunchy
humor faucet will be fully open. Topics covered in one-liners, gags and
recurring themes include: homophobia, sexting, masturbating, bowel
movements, marriage therapy, d**k jokes, prescription drugs, paparazzi,
and yoga pants. But seriously, how many "eating a**" jokes does one
movie need? It's a topic that goes from uncomfortable to unnecessary
Cars and bikes are vital here, though it seems that the motorcycle
stunts could have been jazzed up a bit, and we certainly expected more
cameos than the mandatory one near the end. The original series thrived
on being 'tongue in cheek', and Mr. Shepard's version brings new
meaning to the phrase. The opening credits state "The California
Highway Patrol does not endorse this film. At all." It's an
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