Action Is Back: “Back In Action” had witty, humor surrounding the generation gap has created a new industry standard for action comedies

Sprawled out across a mesh car seat, I groaned as I saw the overdone opening scene where a plane is dangling off of the side of a cliff in desolate, wintery Eastern Europe.

But as I made my way through two Topo Chicos and a packet of pickles, I slowly became engrossed in the plot.

With brilliant and unique chemistry between characters, “Back in Action” enhanced the way that I will view action comedies in the future. 

Instead of a cliché gunfight between people camped behind pick-up trucks, “Back in Action” had road chases in soccer mom minivans and a makeshift flamethrower crafted from a gasoline pump. 

The movie follows two ex-CIA agents, Emily, Cameron Diaz and Matt, Jamie Foxx, on the run to protect a hard drive with codes for worldwide infrastructure. When they lose the hard drive and their kids are kidnapped, Emily and Matt have to find a way to get them back and save the hard drive.

These complex combat scenes transformed the actors from cheesy romcom superstars into CIA ex-spies through intelligent combat choreography.

The actors’ ability to engage in hand-to-hand combat with Belarusian assassins amidst witty banter made for captivating, multifaceted scenes. 

The movie’s discussion surrounding intergenerational problems, such as emotional misunderstandings between Gen X and Gen Z, resonated with me because of their applicability in today’s world. 

The relationship between generations in this family stood testament to the shocking depth of an action comedy. Aside from gun fights from moving vehicles and speed boat chases across the Thames, “Back In Action” forced me to rethink the ever-present generation gap within their own family and rethink the validity of those age-related arguments.

“Back In Action” demonstrated the qualities that make a movie truly stand out — attention to detail and clear concern for the plot. Many action comedies such as “You Don’t Mess With the Zohan” or “The Meteor Man” slink into trite and overdone lines that bore the viewer with their aggravating predictability.

Each piece of “Back in Action” mimicked that of an Alfred Hitchcock movie: brilliantly deceptive lines, an alluring plot and an understanding of the actors’ strengths and weaknesses. 

Ken Seng, “Back in Action” cinematographer, filmed rolling hills, picturesque mountains and even mossy caves that pulled me into the plot as if I was watching it happen in real time. Seth Gordon, the director, and the production crew utilized a variety of camera angles and speeds to give off a feeling of exclusivity as opposed to a monotonous live stream from a recreational league soccer game. 

The crew’s recurring motif was a slow-motion shot in the middle of the action, such as covering the flash drive as it flew through the air or the bullet shell casing as it shot out of the chamber. 

The production crew shot above and below the main characters to make you feel like you were sipping a cappuccino at a picnic table across from the British manor where most of the warfare occurred. The film’s crisp CGI and extensive vehicle arsenal pointed towards the director’s intention of making the viewer believe they were watching a documentary, instead of a movie. 

Although the basic plot outline, violence and banter from any average action comedy was present, Gordon elevated the script, setting and cinematography to forge a new path in the future of modern filmmaking. 

“Back in Action” made me reconsider what constitutes a good action comedy with quippy lines, brilliant casting and a moral reminder for each watcher to consider the effects of a generation gap on their family.