Film and TV

Hot Pursuit's Silliness Is a Plus, Not a Liability

Sofía Vergara is built like an amphora, a living testament to the form ceramicists throughout the centuries have adored. In the fleet and gloriously ridiculous comedy Hot Pursuit, Vergara plays Daniella Riva, a mobster’s wife who needs to be escorted from San Antonio to Dallas, where she’ll testify against the head of a major drug cartel. Uptight, by-the-book police officer Rose Cooper (Reese Witherspoon) has the job of getting her there safely, only to learn that a pair of crooked cops (Matthew Del Negro and Michael Mosley) are hot on their trail. On the lam in Riva’s red convertible — which, as we shall see, turns out to be packed to an explosive degree with “baking powder” — the two women dash into a roadside convenience store to buy new outfits, pose as traveling veterinarians, and circumvent a police roadblock by disguising themselves as a deer in the wild. As one does while on the lam.

The flagrant silliness of Hot Pursuit is a plus, not a liability. Directed by Anne Fletcher — whose last picture was the underloved but therapeutically ingenious Seth Rogen-Barbra Streisand comedy The Guilt TripHot Pursuit is a quiet triumph of tone and timing. Nearly every scene is cut at just the right point, often topped off with a fantastic kicker of dialogue. While self-deprecation is integral to humor, self-humiliation is a trickier, more delicate business, particularly when it comes to comic roles for women. Thankfully, Hot Pursuit — with its script by David Feeney and John Quaintance, both of whom have thus far been writing mostly for TV — avoids gags of the “Darn! I broke my heel!” variety.

It’s one thing for a character to laugh at herself; it’s another for her to present herself as a pathetic, adorable creature in a lowball bid for laughs. You might think Witherspoon’s peeking out from beneath a deer’s head unduly compromises her dignity, but there’s actually something ludicrously refreshing about it — partly because Fletcher doesn’t take the cheap route of zooming in for a haw-haw close-up, and partly because Witherspoon’s performance here has so much go-for-broke fearlessness.

Remarkably, Witherspoon’s career has been chugging along for nearly a quarter of a century now. She’s sometimes been terrific (as in last year’s Wild) and other times traded too heavily on her country-cuteness (the Sweet Home Alabama years). But now she seems unafraid to cut loose, and she and Vergara make a terrific team.

In the early scenes, Witherspoon’s Cooper is a wound-tight mighty mite who’s been relegated to the police department’s evidence room after a dust-up. Cooper’s a rule-follower, not a rule-breaker, and her literal-mindedness gets her into trouble. That’s why Vergara’s flamboyant Riva, with her suitcase full of shiny shoes and her mispronunciations, is such a delightful match for her. She sizes up the diminutive Cooper in regulation blues and says, “Look at you — you’re teeny-tiny. You’re like a little dog I can put in my purse!”

Vergara, a sultry malaprop princess, could easily have stolen the spotlight here. But she knows how to open up space around her in a scene, and that’s key to her considerable comic gifts. Even though Vergara is the chief draw of the hit show Modern Family, the screening audience around me at Hot Pursuit seemed reluctant to laugh at her mangling of the English language, as if doing so constituted laughing at a foreigner for something she can’t help. But Vergara invites our laughter, and clearly delights in it. Plus, it’s her delivery and her timing that set her apart.

A few gags in Hot Pursuit might make you unsure whether it’s okay to laugh and still be a card-carrying good person. When Riva casts a disparaging look at Cooper’s clumpy black regulation cop shoes and calls her “Officer Lesbian,” the joke isn’t in particularly good taste. But then, humor that worries too much about good taste is doomed to fail. Hot Pursuit goes for the risky laugh and then moves on to something else.
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Stephanie Zacharek was the principal film critic at the Village Voice from 2013 to 2015. She is a member of the New York Film Critics Circle and of the National Society of Film Critics. In 2015 Zacharek was named a finalist for the Pulitzer Prize in criticism. Her work also appeared in the publications of the Voice’s film partner, Voice Media Group: LA Weekly, Denver Westword, Phoenix New Times, Miami New Times, Broward-Palm Beach New Times, Houston Press, Dallas Observer and OC Weekly.