Observe and Report writer-director Jody Hill makes mean-spirited tragedies that studios market as inane comedies because otherwise no one would pay a cent to see them. That's more or less what happened to Hill's The Foot Fist Way — it's more unclear than ever whether Danny McBride's tae kwon do instructor is intended as punch line or punching bag. That character remains so loathsome — a despicable combination of coward and bully — that you're more inclined to root against him than cheer for him. The guy deserves every last ass-kicking.
So, too, does Observe and Report's Ronnie Barnhardt, the bipolar mall cop who roams the craptacular Forest Ridge Mall, his tin star fashioned out of tinfoil. Played by Seth Rogen with the dead-eyed ferocity of a barely functioning sociopath, Ronnie has packed his bags for a very, very long power trip. As far as he's concerned, he's more than some security schmuck who chases off mall rats and hoodie hoods. "I believe every man has a path laid out before him," he mutters in a deranged deadpan drone. "My path is a righteous one. I've been chosen to be the protector."
Just in time, the gods deliver him the villain every hero needs: a parking-lot flasher who jerks it in front of Brandi (Anna Faris), the dimwitted, mean-spirited salesgirl on whom Ronnie has a stalker's crush. Ronnie, who still lives with an alcoholic mother (Celia Weston) prone to passing out mid-sentence, will be her savior; Brandi, his salvation. And yes, the Taxi Driver parallels are intentional.
All you really need to know here can be summed up in two key sequences.
In the first, Ronnie is rejected from the police academy, and the officer who gleefully volunteers to deliver the farewell fuck-off is the detective (played by Ray Liotta, clearly from an entirely different film) whose mall-perv investigation Ronnie has been interfering with. A fellow detective (played by Hill's frequent collaborator Ben Best) hides behind the door to revel in the slapdown. Alas, it's not as pleasurable as Best's character had hoped: "I thought it was gonna be funny," he says, scurrying out mid-speech, "but it's just sad."
The other definitive sequence involves Faris, passed out on a pillow streaked with vomit following a night spent shooting booze and popping pills with Ronnie, with whom she's agreed to go on a single "predate." It's an almost harrowing scene: Ronnie, drenched in sweat, writhes on top of Brandi — he's bang, bang, banging away at what looks to be a corpse, clad only in a black bra with throw-up clinging to her chin. After an interminable few seconds, she coughs up a slurred rasp: "Whyyoustopinmotherfucker?" It's meant as comic relief: At least she isn't totally unconscious. But a date-raping creep is still a date-raping creep, no matter where you draw the line on awareness.
The not-funny-just-sad line is the perfect summation of Hill's entire (small) body of work, which generally sounds hilarious on paper but winds up being pathetic onscreen. Guys like Ronnie — violent miscreants, power-tripping sociopaths, self-aggrandizing nobodies-next-door — are Hill's specialty. Problem is, you can never tell if Hill likes or loathes his creations. Hill seems off on the side somewhere, tittering at their misfortune and sneering at how such tiny, insignificant, emasculated men attempt to take up so much space.
Rogen isn't a good enough actor to play anything but variations on goofy-cuddly. But even he knows the secret to Hill's work: It isn't intended to elicit laughter but, instead, the wince of revulsion. Rogen's casting serves only to render Observe and Report that much more of a muddle: It might be the most lovable hateful movie ever made.