The Review: If ever there were two genres guilty of falling back on high concepts, then it’s the rom-com and the action movie. Die Hard On A… movies and Four Weddings knock-offs are two a penny, and This Means War is not the first time that the action movie and the rom-com have been made into strange bedfellows. But This Means War is also the melding of two high concepts into one vertigo-inducing idea: what if James Bond and Jason Bourne went head to head. Who would win? But what if they weren’t just competing in the field, but in the bedroom as well? It does require the two concepts to be merged in such a way that’s not only fair to both, but also allows room for each to breathe. Can you make a film that’s both a good rom-com and a good action movie?
No; at least, not if This Means War is anything to go by. There are three main elements to This Means War, and considering each in tone it’s the com of rom-com that comes off by far the best. Reese Witherspoon is an old hand at this kind of thing, and has a light touch for the material, even if the film does it’s best to make her look as if she’s an international-class trollop. It’s her lightness of touch that makes long sequences watchable, but also her pairing with Chelsea Handler makes much of the film more tolerable. Handler gets the majority of the best lines, and isn’t in the slightest hindered by the fact that she plainly can’t act (early scenes have the feeling of her reading from an autocue – bady – before she hits her stride later on), but her spunky energy keeps the film afloat during the com elements. Hardy and Pine get lots of banter, but only the occasional opportunity for out and out comedy, and it’s a shame there’s not more scenes allowing them to riff.
The rom, however, is where things start to go pear-shaped. This Means War wants to have its cake, eat it and have sex with it, so we’re left with two competing rom-coms as Tom and Chris both attempt to woo Reese for themselves. Sadly, the way that the competing romances are structured, neither comes off as even remotely believable, full of people reading lines from a script that would just about pass for drama students in an improv but would never be said by real people (or even characters in a good rom-com). Consequently it’s impossible to root for either protagonist; the shouting and recriminations that normally sit in the second act of the rom-com are so predicable, you could set your watch by them. Worse than that, though, is that the set-up of the first fifteen minutes means that there’s only one way this is ever going to play out, and despite rumours of multiple endings, the one which panders to all of the lowest common denominators is the one you’ll get to see.
Then there’s the action element, which is nothing short of disastrous. Just three action sequences, at beginning, middle and end; the first is so badly shot it’s impossible to discern anything that’s happening, the second is edited so choppily that any excitement is drained out of it, and the last actually shamelessly rips off other, better action movies before simply giving up and resolving all of the obvious plot threads from earlier on. Put simply, This Means War is an insult to your intelligence on a number of levels, presenting a film where two characters need to get together that has such a random view of basic morality that the inevitable and predictable outcome is actually the last one you’ll want, but also spoonfeeding you action scenes so utterly unwatchable and lacking in originality that if being asked to sit through them doesn’t make you angry, I might politely suggest that you need higher standards. Director McG and writers such as Simon Kinberg have all worked in these genres before, and everything from the hyper-kinetic Charlie’s Angels films to the disturbingly similar in concept and execution Mr and Mrs Smith make this feel nothing more than a sequel subject to the law of diminishing returns. Hardy and Pine are both on an upward career trajectory after years of hard graft in the business, but let’s hope this is a blip and nothing more.
Why see it at the cinema: Not for the action sequences, which are a shameful affront to at least two of your senses, but for the comedy; at least if other people are laughing, there’s a chance you might feel like joining in.
The Score: 4/10