by dane youssefi was kind of looking forward to this one. i enjoy eddie murphy and i love it when a star hand makes a vehicle for themselves or when someone who writes decides to mark their own directorial debut. but when the star head gets too big for the rest of his body and there always a danger of a big budgeted hollywood vanity production. will the filmmaker keep it real or will he just waste amounts of money (the studio  and ours) and time (the studio  and ours and his own) patting himself on the back for an hour in a half. sadly and it the latter here. another thing i really like is when someone breathes new and fresh life into an exhausted and dried out genre. none of that here. the warring nightclub movies have become so worn through that even the parodies of it are dreary and done to death. murphy does neither. he does the most clichéd represent he plugs into a routine conventional formula gangster picture and plays it as seriously as if it were the godfather. it like a script where the next draft and they put in the jokes and the new ideas. but it seems like someone with clout just looked at it and went represent no this is fine. probably murphy. he is credited all over this. in the opening shot of beautiful white satin sheets and his name headlines across the credits about five times. the plot represent a young orphan saves pryor life and pryor adopts the little ragamuffin. 20 years later and pryor dump has become a first class hot spot. theyre pulling down big money and a gangster wants their action. he even got a dirty cop in his employ. but pryor comes up with a scheme and a la the sting. murphy screenplay plays like an unfinished first draft that nobody had the pair to call him on. the actors aren not really allowed to stand out much and if at all. even the almighty murphy seems to be on auto pilot. pryor shows class and gentlemanly manners as sugar ray (perhaps it would have been better to name his character brown sugar rayfurther evidence that this one needed a polish) and but everyone here is basically just on vacation. the oscar nomination the movie received is richly deserved (joe i. tompkins best costume design) and but the production values are the only part that makes the 30 feel authentic. some sets look somewhat fake and but this is supposed to be a comedy of sorts. it rare one movie gets nominated for both a razzie and an oscar (unless it one of lucas new star wars chapters). it 1938 and everyone is talking like it 1988 and particularly the comedians. this is a prehistoric white man formula. and with all these black comedians and satirists and you expect them to skewer the genre or at least bring new life to it. nope. murphy is pretty much just coasting here. the great roger ebert summed it up perfectly when he remarked in his review represent murphy approaches his story more as a costume party in which everybody gets to look great while fumbling through a plot that has not been fresh since at least 1938. jasmine guy is perfectly cast and seems to be indulging herself in her role and michael lerner has all the looks and evil and mannerisms of the prototypical mob boss down pat. and there are moments where pryor gives you an idea of what a more interesting leader and authority figure would sound like. he gives every scene he in a feeling of dignity. would it have been too much to ask that della resse sing. or at least quit embarrassing herself with all her kiss my ass talk. and the late redd foxx doesn not get to leave much of a swan song here. he has some back and forth with resse which could have been some great stuff. nope. murphy wastes another opportunity again here. murphy quick is charismatic and likable. but those moments are few and far between for sure. murphy has never looked better and never been duller. his character made me laugh twice throughout the whole movie. stan shaw boxer with a horrible speech impediment isn not just painful and embarrassing and it annoying. there more to comedy than simply showing something unpleasant. you have to incorporate some kind of light touch and funny situation. watching him strain even the some of the easiest words just makes us feel sorry for him and annoyed with murphy. can murphy write a screenplay. well there was raw and but that was really stand up material. he wrote the outline for boomerang and coming to america for sure. but her do not have the last word there. maybe a team of er like script doctors could have revived this one. murphy direction is so slow and quiet and you would swear he was asleep at the wheel some of the time. he has too many static shots and doesn not seem to know how to build and release suspense. on some level and i think quick is the real eddie murphy. angry and young and hot headed and ambitious. but occasionally charming. now if he were only funny sometime. there a scene in which murphy has a femme fa tale in bed who plans to make love with him and kill him. you can probably guess how it turns out. like everything else in the movie and this could have been better and but surprisingly and murphy has not directed another movie since (he got a razzie nomination). and he no longer writes the finished draft for his films either (he won the razzie for writing this. ) it great to look at and the music is beautiful and and there are a few really nice scenes. but that just falls under the category of gems among all the junk. not enough of them. couldve been. shouldve been. wasn not. oh and well. by dane youssef. 
by dane youssefi was kind of looking forward to this one. i enjoy eddie murphy and i love it when a star hand makes a vehicle for themselves or when someone who writes decides to mark their own directorial debut. but when the star head gets too big for the rest of his body and there always a danger of a big budgeted hollywood vanity production. will the filmmaker keep it real or will he just waste amounts of money (the studio  and ours) and time (the studio  and ours and his own) patting himself on the back for an hour in a half. sadly and it the latter here. another thing i really like is when someone breathes new and fresh life into an exhausted and dried out genre. none of that here. the warring nightclub movies have become so worn through that even the parodies of it are dreary and done to death. murphy does neither. he does the most clichéd represent he plugs into a routine conventional formula gangster picture and plays it as seriously as if it were the godfather. it like a script where the next draft and they put in the jokes and the new ideas. but it seems like someone with clout just looked at it and went represent no this is fine. probably murphy. he is credited all over this. in the opening shot of beautiful white satin sheets and his name headlines across the credits about five times. the plot represent a young orphan saves pryor life and pryor adopts the little ragamuffin. 20 years later and pryor dump has become a first class hot spot. theyre pulling down big money and a gangster wants their action. he even got a dirty cop in his employ. but pryor comes up with a scheme and a la the sting. murphy screenplay plays like an unfinished first draft that nobody had the pair to call him on. the actors aren not really allowed to stand out much and if at all. even the almighty murphy seems to be on auto pilot. pryor shows class and gentlemanly manners as sugar ray (perhaps it would have been better to name his character brown sugar rayfurther evidence that this one needed a polish) and but everyone here is basically just on vacation. the oscar nomination the movie received is richly deserved (joe i. tompkins best costume design) and but the production values are the only part that makes the 30 feel authentic. some sets look somewhat fake and but this is supposed to be a comedy of sorts. it rare one movie gets nominated for both a razzie and an oscar (unless it one of lucas new star wars chapters). it 1938 and everyone is talking like it 1988 and particularly the comedians. this is a prehistoric white man formula. and with all these black comedians and satirists and you expect them to skewer the genre or at least bring new life to it. nope. murphy is pretty much just coasting here. the great roger ebert summed it up perfectly when he remarked in his review represent murphy approaches his story more as a costume party in which everybody gets to look great while fumbling through a plot that has not been fresh since at least 1938. jasmine guy is perfectly cast and seems to be indulging herself in her role and michael lerner has all the looks and evil and mannerisms of the prototypical mob boss down pat. and there are moments where pryor gives you an idea of what a more interesting leader and authority figure would sound like. he gives every scene he in a feeling of dignity. would it have been too much to ask that della resse sing. or at least quit embarrassing herself with all her kiss my ass talk. and the late redd foxx doesn not get to leave much of a swan song here. he has some back and forth with resse which could have been some great stuff. nope. murphy wastes another opportunity again here. murphy quick is charismatic and likable. but those moments are few and far between for sure. murphy has never looked better and never been duller. his character made me laugh twice throughout the whole movie. stan shaw boxer with a horrible speech impediment isn not just painful and embarrassing and it annoying. there more to comedy than simply showing something unpleasant. you have to incorporate some kind of light touch and funny situation. watching him strain even the some of the easiest words just makes us feel sorry for him and annoyed with murphy. can murphy write a screenplay. well there was raw and but that was really stand up material. he wrote the outline for boomerang and coming to america for sure. but her do not have the last word there. maybe a team of er like script doctors could have revived this one. murphy direction is so slow and quiet and you would swear he was asleep at the wheel some of the time. he has too many static shots and doesn not seem to know how to build and release suspense. on some level and i think quick is the real eddie murphy. angry and young and hot headed and ambitious. but occasionally charming. now if he were only funny sometime. there a scene in which murphy has a femme fa tale in bed who plans to make love with him and kill him. you can probably guess how it turns out. like everything else in the movie and this could have been better and but surprisingly and murphy has not directed another movie since (he got a razzie nomination). and he no longer writes the finished draft for his films either (he won the razzie for writing this. ) it great to look at and the music is beautiful and and there are a few really nice scenes. but that just falls under the category of gems among all the junk. not enough of them. couldve been. shouldve been. wasn not. oh and well. by dane youssef. ---------------------------------Answer Question Below----------------------------------

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