Top Box Office Movies - National Security

National Security (2003) Columbia Pictures
1 hr. 31 mins.
Starring: Martin Lawrence, Steve Zahn, Eric Roberts, Timothy Busfield, Colm Feore, Bill Duke
Directed by: Dennis Dugan

National Security

Rating:

E-MAIL FRANK OCHIENG

Photo: Columbia Pictures

If Hollywood insists on shoving down our throats another generic, insulting and painfully derivative salt-n-pepper buddy-buddy flick, what better way to do it in terms of casting the insufferable manic Martin Lawrence? For those of you who haven’t had your fill of recent forgettable Lawrence comedy clunkers such as What’s the Worst That Could Happen?, Black Knight, and Blue Streak then buckle down because there’s a new addition to the motor-mouth comic actor’s flimsy filmography—the kinetic and dumbfounding comedy cop caper National Security. There is some credit to be given to Lawrence’s latest reckless ruse. Unlike his previous duds, National Security does garner some consistently genuine albeit guilty chuckles despite its irksome over-the-top and desperately cockeyed antics. But then again folks, that’s not really saying much.

Director Dennis Dugan (Happy Gilmore, Big Daddy) does himself (and most importantly, the audience) a disservice by helming an exhaustive and tired mismatched partners-in-crime actioner that frankly adds little or no spice to the already fatigued-out genre. For a Lawrence venture, National Security has its scattered moments of raucous amusement. But for the most part, the movie feels exceedingly rudimentary as Lawrence predictably struts his stuff by being annoyingly loud and uncontrollably irritating. This may be the comic’s trademark MO but it doesn’t mean that it can’t wear thin after a while. Lawrence, and the zany spiritless flick that he currently stars in, is a conventionally staid, long-winded and gratingly familiar one-note act. Hence, there is nothing remotely arresting about the recycled and tasteless high jinks pertaining to National Security.

Lawrence plays Earl Montgomery, an obnoxious pain-in-the-neck LAPD cadet who simply cannot conform to the discipline of the police academy he’s training at. Earl is rambunctious and suffers from a real attitude problem. He aimlessly destroys police property and has no regard for restraint whatsoever. Sensing more trouble than what he’s worth, the wannabe cop is thrown out on his divisive derriere. It’s safe to say that Earl is oozing with arrogance and is too unruly to settle for the guidelines of authority. Earl is feisty, opinionated and apparently angry at the world, particularly at White America (whatever you do, don’t ask this guy’s opinion relating to mixed-race marriages—you know—the kind where it’s unconscionable for a white man to hook up with a black woman although it’s okay if the reversed circumstances were evident).

Shortly after being served his walking papers from the now relieved police academy, Earl would eventually stir up conflict using his emotional ousting from his training program and cause continued angst for former LAPD cop Hank Rafferty (Steve Zahn, Happy, Texas, Riding in Cars with Boys). After a confrontation between the riled-up Earl and the put-upon Hank, an incident of mistaken “police brutality” is brought to the forefront. Through an innocent misunderstanding where Hank was trying to help out Earl regarding an errant and bothersome insect, some videotape captured the misguided assault image of “white” law enforcer Hank swatting at a flustered “black” pedestrian Earl. Naturally, this is all the incriminating evidence that is enough to hang poor Hank from his bootstraps. And so Hank is unjustifiably fired from the police department not to mention forced to serve six months in prison for a crime that he didn’t commit in the first place. Of course Earl doesn’t say a word in defense of the befuddled cop’s mishap and unfairly lets Hank rot in his inherited misfortune that was caused by Earl to begin with.

Understandably disoriented, Hank has the cards stacked up against him. Not only has Earl’s insensitive nature cost him his job, his wife (who conveniently happens to be black) and battling his newfound identity as a felon, Hank has to sit around and contemplate the untimely demise of his trusty, beloved late partner Charlie. Soon the sparring duo would reunite as security guards at their new place of employment called National Security. There, the cop rejects could engage in a partnership where they could join forces in hopes of gaining back the respectability of their policing peers. The opportunity toward this agenda arises when Earl stumbles across a smuggling operation. The mastermind behind this illegal happenstance is the fiendish Nash (Eric Roberts mailing in a ridiculous and indifferent villainous performance), the same criminal cad whom Hank blames for the murder of his partner.

It goes without saying that Lawrence’s Earl Montgomery and Zahn’s Hank Rafferty trade pithy barbs as the bombastic mockery takes hold of the colorful proceedings. Armed with the constant hyperactive goings-on of mating cars crashing into objects, excitable random explosions and gamy gunplay to accentuate the noisy nonsense, it’s obvious that the dynamic duo don’t take their security guard duties too seriously. If anything, the madcap moments are magnified clearly to give personality to this brainless over-indulgent farce. The giddy diversions from the so-called comical crime-fighting methods of the tedious tandem include Earl getting an impromptu strip search from an enticing and shapely ebony file clerk in the security firm’s office or Hank’s astonished face being slapped repeatedly from a stereotypical older bad-mouthed heavyset black female motorist. Gee, isn’t that grand, huh?

One wouldn’t mind if Dugan and his writers Jay Scherick (I Spy) and David Ronn (Serving Sara) were audacious and competent enough to deliver a formidable satire that boldly and bluntly commented on the relentless shaky racial practices that permeate society’s everyday hostilities, especially between disenfranchised minorities and the legitimate alienation they feel about a gross selection of uncaring, close-minded bias corrupt cops. The cynicism certainly exists in a post-Rodney King and OJ Simpson era where racism and law enforcement has had its shocking, chaotic run-ins. But instead of giving any redeeming or refreshing insight and exposing the caustic and silly vibes of such a delicate issue, National Security only trivializes and exacerbates the volatile sentiment with its clumsy and scattershot nonsense. Sure, the movie is an inane comedy not designed to cuddle the healing heart and not necessarily meant to be a riveting “message” picture or strive for meaningful fulfillment. Granted, that’s all well and dandy. However, its biggest flaw lies in the fact that it could have had the potential to do both successfully—be acid-tongued in its foolish ribaldry and shrewdly turn the tables on the double standard that exists between two mistreated and maligned factions “playing the race card”.

Lawrence is certainly willing to entertain as he blasts his blustery racist views in the name of his cocky characterization. And in many ways, his alter ego Earl Montgomery does represent a prototype of a decent segment of disillusioned young black men trying to come to grips with the adversity, discomfort and regrettable stigma that haunt them from the time they learn to walk and talk. It’s too bad that Lawrence’s Earl Montgomery’s defensiveness and disdain for white folks isn’t given any substantive specifics for why he feels the way he feels. This would at least provide some dimension and depth as to why Earl is motivated for doing the crazy things and saying the outrageous stuff that he says with unflinching ease. Basically, all the movie promotes from Earl’s disillusionment are idiotic taglines such as “Why? ‘Cuz I’m a black man?” or “What the problem is?” (or in Lawrence’s typical Ebonics-induced manner, “Wha da prollum is?”). Clearly, one wouldn’t mind Earl’s lack of tolerance or embracing of his wayward tirades if he simply came off as sympathetic and notably wounded. Lawrence’s portrayal is short of being totally embarrassing. It is that plain and simple.

On the other hand Zahn, who parades around the movie like some clueless zombie with a target on his back, is the designated guinea pig asked to be in the thankless role of the “victim” Hank. He’s the white version of the “short-end-of-the-stick” black individual who’s used to being in such unwilling and dire circumstances. When Earl reminds Hank what it feels like to be treated as a person with black skin, the role reversal gimmick is understood and digested further with a “wink wink” acknowledgement. Still, the outlandish and unevenness of National Security’s boisterous and banal bravado doesn’t help its convoluted, corroding cause.

Overall, what more can you say about this two-bit meandering and empty-headed carousing crime comedy? Bottom line: everyone connected with this project ought to be handcuffed to the door handle of a speedy out-of-control police cruiser.

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Frank Ochieng
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