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Coming 2 America

by George Wolf

A quip about unnecessary sequels is just one of several “wink-wink” gags you’ll find running throughout Coming 2 America. And though the original was heavy in sexism (even for 1988) and light on LOLs, there’s little doubt that the film’s huge fan base has been anxious for a follow-up.

Eddie Murphy teams again with director Craig Brewer, which is reason for optimism, since Brewer helmed one of Murphy’s career highs – 2019’s Dolemite Is My Name. But screenwriters David Sheffield and Barry Blaustein return from the original film, and while they thankfully update the sexual politics, the humor is again scattershot at best.

Most of the cast is back, including 90 year-old James Earl Jones as King Jaffe of Zamunda. He’s ready to pass the throne to Prince Akeem (Murphy), but is worried that Akeem and Lisa (Shari Headley) only have daughters, and tradition calls for a male heir.

What’s this? The loyal Semmi (Aresenio Hall) has been keeping a very big secret all these years, which means Akeem and Semmi must return to New York to find Akeem’s long lost son.

That would be Lavelle (Jermaine Fowler), who makes the trip to Zamunda for royal training with his mom (Leslie Jones) and uncle (Tracey Morgan) in tow. The additional family is good for Lavelle, and for us, as Jones and Morgan’s “fish out of Queens” antics give the film its most consistently fresh and funny moments.

They’re just aren’t enough of those moments to pump real life into part 2. The girl power is overdue and and love lessons are generic, each as predictable as getting more insults from the barbershop guys and more R&B stylings from Randy Watson.

Buy hey, you go to see Sexual Chocolate, you want to hear the hits. And if you’ve been waiting for Coming 2 America for reminders of what you liked the first time, you’ll get them.

Otherwise, a return trip isn’t necessary.

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Masterminds

by George Wolf

Does Masterminds carry the stench of death? Let’s go to the evidence.

This film has been on the shelf for over a year despite impressive comic talent, and that cast may be the only thing keeping the film from straight-to-video status. It finally opens this week, with little fanfare in a crowded field, and features a blooper reel that can’t wait to push the actual film out of the way and get going.

In other words, we doubt you laughed much for the previous 90 minutes, how ’bout some funny outtakes as you leave?

Strong case, counselor, but in the words of master litigator Jules Winfield, “Allow me to retort!”

Masterminds is not horrible.

It’s actually based on the true events of a 1997 bank heist that scored 17 million dollars (2 million of which is still missing). If you think the director of Napoleon Dynamite is an odd choice to direct this story, you’re correct, and Jared Hess delivers a very odd, haphazardly funny movie.

Zach Galifiankis is a trailer-park livin’ armored truck driver engaged to Kate McKinnon (their announcement shots are a riot) but pining for his co-worker Kristin Wiig, who becomes the bait in Owen Wilson’s scheme to get the cash. Once the job is pulled, Zach waits south of the border for Wiig to join him (“I had to get a disguise, I look like Gene Shalit!”), while Wilson dispatches hitman Jason Sudeikis to hunt Zach down in Mexico. Meanwhile FBI agent Leslie Jones looks for clues and a jealous McKinnon attacks Wiig with a giant tube of feminine cream.

Long stretches where you aren’t laughing are suddenly broken up by a randomly uproarious gag (see tube of feminine cream above), and the veteran cast always makes it watchable despite the extreme absurdity. McKinnon steals scenes with facial expressions alone while Zach and Sudeikis engage in battles of improvised strangeness.

So ladies and gentlemen of the jury consider: this film will sink quickly and quietly from the multiplex, then slowly grow once it hits the video and streaming market.

As Zach says, “Brace your boobies,” Masterminds may be a cult favorite in waiting,

Verdict-2-5-Stars

 

 





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Ghostbusters

by George Wolf

Just weeks ago, Dan Aykroyd set the trollosphere into a stage 5 tizzy when he dared to suggest the new Ghostbusters just might be scarier – and funnier – than his 1984 version.

He’s not really wrong.

Simmer down, I’m not saying this new one is a better. It doesn’t match the freshness or overall attitude of the original that, when combined with generational nostalgia and Bill Murray’s ascension to beloved icon, has propelled the film to a slightly more lofty pop culture perch than it deserves.

But, the 2016 GB’s do battle more frightening ghosts and do deliver a solid amount of laughs.

Erin Gilbert (Kristen Wiig) is chasing tenure at Columbia University, and trying to forget her days chasing ghosts. A report of a local haunting reconnects Erin with old partner Abby Yates (Melissa McCarthy) and her new tech wizard Jillian Holtzman (a scene-stealing Kate McKinnon). The trio gets a close encounter of the slimy kind, brings the feisty Patty Tolan (Leslie Jones) on board, and sets up shop in modest digs above a Chinese restaurant, which somehow still doesn’t help them get lunch any faster (delivery guy: “I have bad knees.”)

Director/co-writer Paul Feig gives each actor both the material and the space to carve out distinct characters, and it isn’t long before casting that smelled like a gimmick feels not only inspired, but perhaps the most sensible way to reboot such a classic team.

Giving the ladies an air-headed piece of beefcake named Kevin for a secretary (Chris Hemsworth, having a charming bit of fun with his own image) isn’t a bad move either. The comic benefits are obvious, but it’s also one of the devices the film leans on to throw subtle shade at the misogynistic vitriol that’s been spewing since the female leads were announced.

Stars from the ’84 film make effective and well-placed cameos (extra points for the clever way the late Harold Ramis is included), but eventually the amount of homage feels excessive for a film blazing its own trail. A similar penchant for excess bleeds into the finale, as our heroes face off against a number of spectacular ghouls in a fireworks-laden battle, but can’t wrap it up before an unnecessary serving of schmaltz creeps in.

McCarthy and director/co-writer Paul Feig again prove to be a reliable comedic team, but can’t quite match the sustained hilarity of Bridesmaids or Spy, which is actually a bit ironic. Similar expectations dogged Ramis and Murray after the successes of Caddyshack and Stripes, but initial concerns about their ghost-chasing epic got vaporized in a New York minute.

Can the new look GB’s repeat? They’re off to a solid start, and be sure to stay through the credits for a clue about who they ain’t gonna be afraid of next.

Verdict-3-5-Stars