PEOPLE Pick: 22 Jump Street a Short Leap from 21

Jonah Hill (left) and Channing Tatum, in 22 Jump Street

Sony

updated 06/13/2014 AT 1:00 PM ET

originally published 06/13/2014 AT 2:30 PM ET

22 Jump Street, the sequel to the 2012 hit 21 Jump Street, is just as stupidly/smartly funny as the first – so go ahead and jump on it.

Chasing drug dealers on a college campus instead of at a high school this time, undercover cops Jenko (Channing Tatum) and Schmidt (Jonah Hill) are still trying to pass as brothers, even though Jenko is a virile side of beef and Schmidt is

Well, what are any of us compared to Tatum?

Legs and lungs. A barely suppressed yawn of the human genome.

One could go on.

It is, in fact, all too easy to underestimate Tatum as an actor simply because he has such a striking physical presence and, more importantly, because he belongs in that small but blessed company of performers who seem to do their job out of plain enjoyment – and to give plain enjoyment – without a detailed game plan that culminates someday with an Oscar. Or two.

Hill, on the other hand, is the funnier actor. He has a more complicated technique, or maybe he’s simply a more complicated person. The thing is that he can express neurosis, discomfort and unhappiness without derailing a joke. If anything, those are all part of his delivery.

There’s something Ren and Stimpy about their pairing, or even Don Quixote and Sancho Panza, assuming that Don Quixote was pretty much cool with whatever might happen in their adventures.

The actors have pared their repartee down to a series of broken-off sentences and questions and, when all ordinary verbal communications fails, baffled looks and inadequate gestures. It’s an excellent team performance.

This sequel is largely a set of variations on 21, and as long as many of them work (and they do) there’s no cause to be unhappy. Even if the extended drug-trip gag isn’t quite as good this time, it’s still a good drug-trip gag.

The dumb comedy was once a fairly grubby but pleasantly disposable product – you could include John Candy’s Going Berserk (1983) or Chris Elliott’s Cabin Boy (1994) – but over time a much higher level of writing, production and performance elevated such movies.

To a degree, anyway. Anchorman is probably the masterpiece of stupid-smart. It includes subtitled dialogue between a dog and a bear.

Like that and many other dumb-smart comedies, 22 can feel like the work of alien beings of superior intelligence learning how to behave like cavemen, but you nonetheless are grateful for the care and professionalism behind it.

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