23 Jump Street: Critical Condition proves that this franchise still has a strong pulse, delivering a sequel that understands exactly why audiences fell in love with Schmidt and Jenko in the first place. Louder, sharper, and knowingly more ridiculous, the film leans into its own absurdity while finding clever new ways to raise the stakes—both professionally and emotionally—for its two most incompetent undercover cops.
Channing Tatum and Jonah Hill return with chemistry that feels completely effortless. Their dynamic hasn’t aged a day; if anything, it’s evolved into a more self-aware, almost meta version of the bromance that defines the series. Jenko’s physical confidence paired with Schmidt’s anxious overthinking continues to be comedy gold, especially when they’re forced to pretend they know what they’re doing in a high-tech hospital.
The hospital setting is a smart escalation from previous schools and colleges. White coats replace backpacks, but the confusion is just as intense. Watching Schmidt pose as a doctor and Jenko stumble through nurse duties creates a constant stream of visual gags, medical mishaps, and cringe-inducing improvisation. The film mines endless humor from the idea that these two men should absolutely not be trusted with human lives.
Ice Cube’s Captain Dickson remains an unstoppable force of rage and authority. His scenes are fewer but more potent, with every appearance delivering sharp insults and perfectly timed explosions of frustration. The film smartly uses Dickson as both a grounding presence and a reminder of how much trouble Schmidt and Jenko are truly in.
Amber Stevens West’s Maya adds a much-needed voice of reason. Her sarcasm cuts through the chaos, and her reluctant involvement highlights how far the Jump Street operation has spiraled out of control. Maya feels less like a side character and more like the audience’s internal monologue—constantly questioning why this is allowed to happen.
Florence Pugh is a standout addition as Dr. Avery, bringing an unexpected layer of mystery and intelligence to the film. She plays her role with subtlety, allowing the audience to constantly question her motives. Her interactions with Schmidt add tension and intrigue, while her scenes with Jenko lean into uncomfortable hilarity.
What truly elevates Critical Condition is how it balances comedy with surprisingly high stakes. Corporate espionage, experimental medical tech, and ethical gray areas give the story real momentum. The plot may be intentionally over-the-top, but it’s structured tightly enough to keep the audience invested beyond the jokes.
Action sequences are chaotic in the best way—fast-paced chases through hospital corridors, operating rooms turned battlegrounds, and absurdly timed emergencies that collide with undercover antics. The film understands that its action works best when it directly interferes with the comedy, not when it overshadows it.
At its core, the film remains about friendship. Schmidt and Jenko’s bond is tested once again, but this time with maturity layered beneath the immaturity. Their fear of growing apart, of being outgrown by the world around them, adds emotional texture beneath the laughs.
The humor is sharp, self-referential, and unapologetically stupid in all the right ways. The film openly jokes about sequels, franchise fatigue, and escalating absurdity—turning potential weaknesses into strengths. It never pretends to be anything other than a Jump Street movie, and that confidence is infectious.
In the end, 23 Jump Street: Critical Condition doesn’t just keep the franchise alive—it shocks it back to life. With relentless humor, strong performances, and a setting ripe for chaos, the film proves that Schmidt and Jenko still have plenty of trouble left to cause. Sometimes, the best medicine really is laughter—and this one delivers it in dangerously high doses. ⭐⭐⭐⭐½
