SXSW 2016 Review: WAR ON EVERYONE, Glorious, Riotous Fun

Managing Editor; Dallas, Texas (@peteramartin)
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SXSW 2016 Review: WAR ON EVERYONE, Glorious, Riotous Fun

Within its first 10 minutes, War on Everyone smashes at least two dozen stereotypes familiar to anyone who has ever watched a cop movie made by a Hollywood studio, doing so in a rollicking and hilarious fashion.

It's a barrage of silly sight gags and punchy one-liners that is simultaneously silly and smart, a series of over the top explosions that blow up, one after the other, to ever greater effect. When things finally slow down, it's only for a moment to allow the audience to catch its collective breath and ask, perhaps, where can this crazy thing possibly go from here?

Writer and director John Michael McDonagh, who previously made the tight, intense drama Calvary, here returns to the rough, black comic territory of his debut, The Guard, though it's safe to say that War on Everyone is much broader, and intentionally so. The opening sequence, picking up in media res, is immediately reminiscent of Lethal Weapon 2, featuring two cops in the midst of an automotive chase.

As prototypical buddy cops in Albuquerque, New Mexico, Michael Peña and Alexander Skarsgård are incredibly well-matched detectives, sitting at one point in the police station, wondering why everyone else bothers to work. Their boss, played by Paul Reiser, is exasperated and appears genuinely confounded by how stupid they pretend to be.

Yet Peña and Skarsgård are, apparently, exactly as stupid as they appear to be. To be more accurate, they give no indication that they know about the law, or that they care about the law, or that they even know what their responsibilities toward the law are supposed to be. At the risk of explaining a joke (badly), that's exactly the point. Peña and Skarsgård are personifications of the typical law-breaking law-enforcers who peopled 1980s action movies and continue to do so down to this day.

So, obviously, War on Everyone pivots on whether the film's humor strikes a responsive chord, and that opening sequence is a good litmus test -- if it doesn't make one laugh, neither will the rest of the movie. For those who remain on board, McDonagh sketches out the characters of Bob Bolaño (Peña) and Terry Monroe (Skarsgård) and the actors take it from there, investing them with grace notes of humanity that reinforce the humor.

Bob has an understanding wife named Dolores (Stephanie Sigman) and two rambunctious boys, while Terry lives alone in a starkly furnished home that he comes to share with the survivor of a crime scene (Tessa Thompson, continuing to stand out after Selma and Creed). The women are limited to stereotypical supporting roles, with their greatest strengths being that they accept the men as loving and devoted clods.

Naturally, Bob and Terry are in pursuit of nasty villains, led unexpectedly by Theo James, who has established himself as a teen heartthrob in the Divergent series of movies. As the leader of a criminal syndicate, he distinguishes himself by imitating Sean Connery as 007. Caleb Landry Jones makes for a splendidly irritating, lower-rung criminal cohort. Malcolm Barrett has a few good scenes as Reggie, an informant, basically functions as a means to get Bob and Terry from one location to another.

Ultimately, War on Everyone is a laugh machine that doesn't always shoot straight and true and is bound to offend nearly everyone. (For one thing, even the most politically incorrect people on the planet would find Paul Reiser's description of his children to be offensive.) It falls short of McDonagh's previous films, which were strong on stinging characterizations, and is incredibly broad and obvious.

Really, though, isn't that the point? If you're going to make fun of Hollywood cop comedies, you pretty much have to be broad and obvious. War on Everyone is glorious, riotous fun, and Peña and Skarsgård are utterly charming.

The film enjoyed its North American premiere at SXSW. It screens again this coming Friday at the festival.

War on Everyone

  • John Michael McDonagh
  • John Michael McDonagh
  • Alexander Skarsgård
  • Tessa Thompson
  • Theo James
  • Michael Peña
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Alexander SkarsgårdJohn Michael McDonaghMichael PeñaTessa ThompsonTheo JamesComedy

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ToryKMarch 16, 2016 2:08 PM

God, I can't wait to see this. After Cavalry, dare I say I'm starting to enjoy John Michael's output more than his brother's? I do. I do think I dare. Hell of a cast too. Peña seems incapable of letting me down.

Todd BrownMarch 16, 2016 2:43 PM

I 100% agree with you. I think Jon Michael is by far the better of the two.

UilickMcGeeMarch 16, 2016 4:21 PM

Ah, the McDonaghs. The dark horses of Irish filmmakers.
It's cool to see them and Lenny making their mark across the waters.

ToryKMarch 16, 2016 7:51 PM

I've enjoyed Martin's stuff so far. Seven Psychopaths felt like a step down, though. An entertaining step down, but a step down. Kind of disappointing to see him go from something that felt sincere to what was kind of an outdated, but smart-ish pastiche. It's not a bad movie, and it knows what it is, but I expected (and wanted) more from him. The Guard would have been fucking hilarious if it had stuck with the pastiche route, but it gradually reveals depth, keeps the vulgar laughs, and it's all the better for it. Calvary was something more akin to a novel or a play. If we go with the idea that artists get better as they go along, Jon Michael's gotten better at building movies around his characters. Seven Psychopaths was worrying because it was distracted with being clever.