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 - Top ranked pages (up to a max of 100) from every linked-to domain using the Wide00012 inter-domain navigational link graph ||||| The Other Guys (2010) 
 
 Is it possible to run a bait-and-switch scam in reverse? I can’t think of another way to describe the odd trick pulled off by “The Other Guys,” a new goofballs-and-fireballs comedy directed by Adam McKay . The closing credit sequence is, in effect, a tease for a movie quite different from the one that has just concluded. 
 
 Bold, brightly colored charts and graphs fill the screen with enraging data about bloated chief-executive bonuses, billion-dollar bank bailouts, Ponzi schemes and other entries in the encyclopedia of modern financial infamy. Looking at these shocking numbers in isolation, you might be tempted to think that you had just watched an angry populist satire skewering the powerful and the privileged. But such topical provocation has been missing from commercial American comedy for a very long time, and “The Other Guys” is no exception. Its plot does feature a devious equity-fund manager (played by the reliable British weasel-for-hire Steve Coogan) and a Wall Street vixen, but the plot is neither the movie’s point nor its most memorable feature. 
 
 Instead, Mr. McKay plays to his strengths and those of his frequent collaborator and the movie’s star, Will Ferrell. In other words, “The Other Guys” is most authentically itself when it indulges in a free-form but nonetheless highly disciplined silliness that has the effect of dissolving, rather than piquing, whatever worldly anger or frustration you may be harboring. Once again, and for the first time in a while, Mr. Ferrell uses his big body, his quick mind and his infinitely fungible voice to yoke disparate and ridiculous traits into a brand new and yet instantly archetypal comic character. 
 
 Allen Gamble, Mr. Ferrell’s mild-mannered, desk-bound police detective, lacks the pompous aggression of Ron Burgundy in “Anchorman,” the aw-shucks aggression of Ricky Bobby in “Talladega Nights” or the infantile aggression of Brennan Huff in “Step Brothers” (all directed by Mr. McKay). Instead, he is aggressively, ostentatiously, explosively passive — a combustible milquetoast. Gamble is timid, gullible, irresistible to gorgeous women and yet oblivious to their interest. He makes no sense at all, except in the absurd context of the movie’s craziest moments. 
 
 Gamble’s foil is Terry Hoitz, an unlucky detective played by Mark Wahlberg, who looks like an inflamed bantam rooster next to Mr. Ferrell’s timorous ostrich. Actually, the two of them supply a more vivid — if less comprehensible — zoological metaphor in the film’s funniest scene, a rhetorical sparring match in which lions battle tunas for animal-kingdom supremacy. 
 
 When it operates in this nonsensical zone of verbal riffing and broad slapstick (the most inspired example of which is a brawl at a funeral conducted in respectful whispers), “The Other Guys” provides some pretty good laughs. Dwayne Johnson and Samuel L. Jackson make fun of their action-hero personae and then step aside to let Mr. Ferrell and Mr. Wahlberg do their thing. Those two are gracious enough to cede a little room to Michael Keaton, as the leathery precinct captain, and to Rob Riggle and Damon Wayans Jr., as Gamble and Hoitz’s obnoxious squad room rivals. ||||| You searched for: [X]The Other Guys 
 
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 ||||| A desk-jockey detective and his tough-talking partner get their moment to shine in this buddy police comedy starring Will Ferrell and Mark Wahlberg, and directed by Adam McKay (Anchorman: The Legend of Ron Burgundy, Talladega Nights: The Ballad of Ricky Bobby). New York City detective Allen Gamble (Ferrell) is more comfortable pushing pencils than busting bad guys. A meticulous forensic accountant, his numbers are never off. Detective Terry Hoitz (Wahlberg) is Gamble's reluctant partner. Try as Detective Hoitz might to get back on the streets, an embarrassing encounter with Derek Jeter has left a sizable black mark on his permanent record. Detectives Danson (Dwayne Johnson) and Highsmith (Samuel L. Jackson) are the complete opposites of Gamble and Hoitz: unwaveringly confident, they always get their man, and they do it with style to spare. When the time comes for Gamble and Hoitz to prove their mettle and save the day, their incompetence becomes the stuff of legend. ~ Jason Buchanan, Rovi ||||| Starting in 1996, Alexa Internet has been donating their crawl data to the Internet Archive. Flowing in every day, these data are added to the Wayback Machine after an embargo period.
– Despite a few reviewers who think it’s basically an extended Saturday Night Live sketch, The Other Guys snagged a high score on the Tomatometer—and some are calling the Will Ferrell/Mark Wahlberg cop comedy the funniest movie of 2010: If you’re tired of Ferrell's typical “clueless blowhard,” never fear: director Adam McKay “shrewdly varies the formula," making Ferrell the “square” and Wahlberg the “aspiring alpha dog,” writes Joe Williams in the St. Louis Post-Dispatch. “The Other Guys is the funniest movie of the year.” Ferrell and McKay "have collaborated on three other movies, but they've never been so slyly funny as they are in The Other Guys, a buddy-cop satire so hilarious that even longtime Ferrell haters (me) can't resist it,” admits Connie Ogle in the Miami Herald. “The humor is that rare perfect balance of broad and satiric.” Fun cameos include “Samuel L. Jackson and Dwayne Johnson in a hilarious send-up of badass cops,” and Michael Keaton, who nearly steals the show “as an emasculated police captain moonlighting as a retail store manager,” writes Joshua Katzman in the Chicago Reader. Rather than a full-length film, “the movie’s best bits would stand alone nicely on YouTube, or on Funnyordie.com, the comic video boutique of which Mr. McKay is an owner and where he sometimes dabbles in short-form hilarity,” writes AO Scott in the New York Times.