21 Jump Street 4K UHD Review

Bowing to Korean Jesus

Nick Offerman lays out 21 Jump Street’s rules early on. “The guys in charge of this stuff lack creativity,” he says, brandishing an entire genre of reboots as soulless, studio gunk. Afterward, it doesn’t matter what 21 Jump Street does; it earned a pass.

Openly dopey and stupid as 21 Jump Street rightfully is, there is value here. It’s not the typical buddy cop relationship. The romance doesn’t qualify either. Rather, 21 Jump Street magnifies how quickly high school changed, shedding bullying, embracing comic culture, and cheering on good students. This, after Channing Tatum and Jonah Hill graduated only seven years earlier, where the bully/bullied culture still ruled.

21 Jump Street keeps finding ways to up the goofiness

There’s significant comedy in exploring how little some people mature after high school. It’s difficult, and 21 Jump Street mocks complacency through Tatum and Hill’s utter idiots who mesh only because their flaws sync up. Without each other, they’re useless. Newfound teen tolerance acts like a glue.

Two guys let their high school experience define them, except now high school isn’t the same. That’s 21 Jump Street’s pitch – forcing the cool kid (now like 30) to realize how rapidly “cool” evolves, and the other stumbling on how his awkward personality fits in modern teen culture. Thin and vapid on paper, at least until the witty success overwhelms the story.

Then they shoot stuff. Some of it explodes. Most of it doesn’t. There’s a new drug to chase because 21 Jump Street spoofs the common ‘80s action movie down to those simple plot devices. Ice Cube effortlessly slips into the angry Captain part, a hilarious success.

21 Jump Street spares nothing in tackling the genre, at times mocking it, other times absorbing its absurdities. Somehow it works. Tatum and Hill’s charisma paired with a snappy pace doesn’t let anything linger (as modern comedies so often let happen). By the end, there’s a three-way limo chase, totally spirited since 21 Jump Street keeps finding ways to up the goofiness. A biker gang, a financially strapped gym teacher, prom; the list doesn’t doesn’t connect in any direct way, but then again, neither does remaking 21 Jump Street. Tatum and Hill’s characters grasp how out of touch they are, which reflects back onto the series itself.

It’s an intelligent reboot, and that alone subverts expectations, even if the movie aims directly at formula.

Video

Bland on Blu-ray, the visual scope doesn’t change on UHD. Upfront, yes, the HDR does make a difference – if only to the brightest highlights. Various sources push nits to a satisfying maximum, including ceiling lights or candles. The rest then feels practically untouched, unfortunately dim, and totally listless. 21 Jump Street looks like it’s stuck in an overcast, lacking dynamics in everything but the obvious.

Shot digitally at 2K, the upscale is fine. A smidgen more detail appears compared to the Blu-ray, mostly insignificant. Close-ups match the Blu-ray, and the benefits more apparent in exteriors or city shots (of which there are few).

Same with color too, flattened and dull, lacking spunk. On a positive note, there’s no aggressive grading. Flesh tones play nice with reality, and a few primaries score points. Utterly unremarkable though, held back by the source intent and likely lackluster mastering, unusual for Sony.

Audio

A small boost over the Blu-ray, an Atmos remix gives the track some energy. Heights don’t engage often, but layer feathers after a chicken truck goes up in flames and sends doves fluttering before the obligatory “cool” walk. Shoot-outs move around more freely than before, taking advantage of the added space in the rears. Slightly better ambiance tracks motorcycles as they pass, and city sounds when outside.

Strong LFE amplifies the soundtrack, plus giving oomph to the few explosions. Gunshots bring a little punch too at the end, if minuscule overall. Adequate, if not much else.

Extras

Nothing new from the previous Blu-ray, but it’s all here. Channing Tatum and Jonah Hill join co-directors Christopher Miller & Phil Lord for the requisite commentary track, followed by a slew of equally funny material. Twenty deleted scenes run around a half hour, but the gag reel is where you’ll find the best stuff. Cube-o-rama is two minutes of random Ice Cube improv that is nothing short of hilarious, while Back to School is an amusing making-of.

Brothers in Arms is general speak about the two leads, with Johnny Depp on Set following, and acting as a giant spoiler if you haven’t seen the movie. The Rob Riggle Show is a series of antics from the actor while the piece marches on about his character. Peter Pan on the Freeway details the expressway chase.

The following six screen shots serve as samples for our subscription-exclusive set of 43 full resolution uncompressed 4K screen shots grabbed directly from the UHD: