Although the sequel movie is usually always an entity that feels forced, directors Phil Lord and Christopher Miller--who also directed 21 Jump Street--have managed to highlight this fact to their advantage. With 22 Jump Street, the awkward yet somehow magical chemistry between Channing Tatum and Jonah Hill continues to blossom, reviving the bromance genre that had seemed to be missing for a brief period from the movie theater. Promotional poster for 22 Jump Street

Picking up where Ice Cube left off, Jenko (Tatum) and Schmidt (Hill) enroll in local college MC State to infiltrate yet another drug dealer/supplier situation--though at first they dabble in an online college called University of Internet. The drug they're after is called whyphy (as in wi-fi) and works to keep you focused for the first portion of the high, and then make you trip significant balls during the final part. Jenko and Schmidt hone in on a tattoo in a photograph of the drug changing hands and end up focusing all of their energy on a football player named Zook (Wyatt Russell), who is also a source of friction in the bromance between the two of them.

Two lovers.

One night, when they're being kidnapped as fraternity pledges by Zook, Jenko and Schmidt end up accidentally taking whyphy after eating some special treats baked by their roommates, twins named Kenny and Keith (The Lucas Brothers) who constantly say the same thing at the same time. In one of the most hilarious scenes of the movie, the duo shares a very different tripping experience--Jenko having a pleasant one characterized by driving a baby Lamborghini and Schmidt having one that involves dark rain clouds and Creed playing in the background.

The requisite explosions of a sequel

Screenwriter Michael Bacall (who also worked on the boyish films Scott Pilgrim vs. the World and Project X) makes a consistent point throughout the film to mock the nature of the sequel. Referencing the fact that the new address where the secret Jump Street headquarters is now located is bigger, better and more expensive, Bacall makes a connection with the audience through his referential dialogue. And, because of the ever-increasing jadedness of filmgoers, Bacall is shrewd in employing this method.


As for the frequent gay allusions (which are really too overt to be considered allusions), it gets a bit tiresome at times, but I suppose is intended to keep the Midwestern demographic interested. The conclusion of 22 Jump Street is typically bombastic, but what makes it all truly worth the watch is the clip show of subsequent sequels showing Jenko and Schmidt in different school settings (dance school, beauty school, martial arts school, culinary school, etc.). Whether or not this means there will actually be a third installment remains to be seen.