Pride is “inspired” by true events. Unlike movies “based” on true events those that are “inspired” can take the bare bones of a true story and build exponentially upon them. It focuses on swim coach Jim Ellis (Terrence Howard)—not by the way to be confused with the great boxer Jimmie Ellis—who inspired in a group of inner-city kids “pride determination and resilience” when he was assigned to monitor a rundown Philadelphia recreation center in the early 1970s. As one would expect in a film of this sort Coach Ellis instills in his kids a will to struggle and fight--and to paddle their way to glory. Along the way they contend with the hazards of urban life (drugs crime) and the ugliness of racism. The kids learn teamwork and respect and the coach learns a thing or two about himself too. Terrence Howard who’s in such a beautiful groove as an actor that he can almost do no wrong brings his trademark intensity and passion to the role of swim coach Jim Ellis. He’s tough but tender forceful yet contemplative--and everything a big-screen coach should be. He also has great chemistry with the kids and particularly with Bernie Mac whose custodian of the rec center becomes a great sounding board for Coach Ellis and the swimmers. If Howard is a great screen coach--and he is--than Mac is a great assistant coach. It would be nice to see them paired up again. Kimberly Elise is very pretty and very good in another stock role that of a city councilwoman eventually won over by Howard leading to a potential (and predictable) romance. Even Tom Arnold cast as an antagonistic and racist rival swim coach manages a good turn. This is the first feature from director Sunu Gonera and he brings an enthusiastic approach to absolutely formula material. The swimming scenes are exciting and even better the scenes that focus on the characters are just as stimulating. Besides any director who can get a good performance out of Tom Arnold surely has something. Films of this sort can be done well and they can be done badly--and we’ve all seen countless examples of the latter. Pride is clearly a feel-good movie from the first frame to the last. And guess what? It all works. Every second of it. Pride’s corniness quotient which should be off the scale is instead supplanted (refreshingly so) by a good old-fashioned sense of storytelling and heart. It gets its message across without being heavy and that is tantamount to a victory in itself.
In 1966 one story of sports bravery begat another and together they would forever change the face(s) of basketball if not the nation. When Don Haskins (Josh Lucas) accepts a job to coach at Texas Western University he’s forced to recruit several black players instead of highly touted white players due to budgetary constraints and a program that doesn’t exactly match that of that of say Kentucky University. Black players were taboo back then thus turning the team into fodder for hate crimes and ridicule. But Haskins doesn’t allow his players to get caught up in the national furor and they show their allegiance to him by taking any and all aggression out on opposing players on the court the beleaguered players reaching a Zen in which they only hear their coach. They make it to the championship game where they play an all-white Kentucky team in a sort of past-versus-future landmark showdown. Someone out in Hollywood is determined to make Josh Lucas a star—or at least the next Matthew McConaughey. After Stealth failed to do that and everything else he landed another huge role in Glory and it just might be the right fit. Lucas’s No. 1 asset might always be his looks—looks that will at least sustain female viewers’ interest during Glory—but if there is to be a proverbial breakout performance this will be it. Lucas doesn’t quite exude “basketball coach ” even with unrelenting screaming at players but he wears the Southern-isms well and the more dramatic moments reveal his potential. Jon Voight also stars as Adolph Ruff storied coach of Kentucky. Voight’s makeup job places him somewhere between his Howard Cosell in Ali and Nicole Kidman’s make-under in The Hours but he again does justice to a controversial sports legend. Noted TV-commercial director James Gartner makes his directorial debut on Glory but it’s uber-producer Jerry Bruckheimer who makes a more lasting imprint on the film—he Bruckheimer-izes it if you will making a sports drama look like Bad Boys at times. Gone are the victorious and uplifting personal stories of oppression overcome in the 1960’s South; superimposed instead are comedic embellishments off-court hijinks and mere snippets of courageous depictions. This admittedly keeps the film flowing but it also in a way trivializes the story’s impact. Gartner ultimately re-creates the basketball scenes amazingly well though which is where the movie truly shines. For that reason it’s a shame Bruckheimer had to impart his glossy stylings at all because it seems like Gartner was doing just fine on his own.
"Hey Hey Hey--it's Fat Albert!" From the very first introductory line--voiced by Albert (Kenan Thompson) himself--you cringe just a little. It's like watching a good friend attempt a tough impersonation you hope he can pull off. The story hews close to what the cartoon
Fat Albert and the Cosby Kids was always all about--a goofy gaggle of African-American kids making the best of growing up in a rough neighborhood in Philadelphia. No matter what the trouble--runaways drug use juvenile delinquency--they managed to find a way to solve everyone's problems and bookend each episode with the contagiously upbeat "Na na na--gonna have a good time! Hey hey hey!" The same goes here--only in a modern twist the problem to solve happens to be in the "real world." Doris (Kyla Pratt) a shy and lonely teenager has a rough day at school where she learned she wasn't invited to a big party. She comes home to watch Fat Albert on TV Land and a stray teardrop hits the remote control creating a magical portal through which the animated Fat Albert and gang decide to jump. Scaring the heck out of the bewildered Doris the guys stumble out of the television set and take to their realistic surroundings and mission quite quickly. In short order they set about trying to find Doris some new friends much to her embarrassed chagrin and along the way they try to make sense of modern day life with its perplexing cell phones pull-top cans and rap music. Yet the more time they spend in the real world the more they fade away their clothes becomes more washed out and eventually they even seem transparent.
Thompson (Saturday Night Live) does as good a job as could be expected embodying a classic cartoon character that has been etched into our minds for decades known mainly for the booming voice pounding footsteps and wide red-shirted girth. He also has the unenviable task of imbuing the character within the actual storyline (not to mention sharing screen time with Bill Cosby himself who quickly but effectively intones the classic phrase in a standout cameo). In the real world Fat Albert falls in love; not with Doris the girl he's helping but her older sister Lauri (Dania Ramirez) who in turn has taken a shine to this selfless big lug. Thompson is also required to sing and dance and try his hand at rap (but we'll skip the part in which Albert races a malevolent track star who's jealous of his appeal--it's so out of place and unnecessarily fake-looking that it's best forgotten). Kyla Pratt also does a good job holding her own playing the young Doris as one part hopeful one part incredulous. The rest of the "Cosby kids" blend in with one another if not for their single quirk or two: Jermaine Williams as the unintelligible Mushmouth; Keith D. Robinson as Bill the level-headed one (essentially the young Bill Cosby); Alphonso McAuley as Bucky with his protruding big teeth; Aaron A. Frazier as Old Weird Harold tall with the big 'fro and Marques B. Houston; as Dumb Donald most of his face covered by a pulled down ski-cap with eye holes.
Already a lot has been said about Fat Albert's sitcom-like feel which may in fact be appropriate given the source material but meandering between the two plotlines the story nevertheless feels as padded as Thompson's suit. Director Joel Zwick's (My Big
Fat Greek Wedding) staging style and attitude are clearly geared toward kids who likely won't miss the lack of real wit in the bickering exchanges between the gang but who may not get the references including the opening animation styled just like the mid-1970s show. This movie's target audience has barely even heard of Theo and Rudy Huxtable let alone Weird Harold Mush Mouth and Dumb Donald. In the cartoon Albert and the Cosby kids populated an urban world of fire hydrants streetlamps and garbage dumps that wasn't without a certain charm. The problem is that charm of the original doesn't work within the context of life today. Just slapping this colorful cast of characters into music video dance scenes doesn't do the job. One notable exception to the often unengaging quality of the movie is a brief visit Fat Albert makes to the real Bill Cosby. The legendary performer softens his curmudgeonly ways and puts forth a possible explanation for Albert's manifestation in reality tying it in with the character's origin in his own head. It's an interesting tidbit with a small payoff at the end.