November 22, 2002 5:27am EST
In the last Friday movie the Jones family won the million-dollar lotto jackpot and left the 'hood for Beverly Hills. But the money has run out in Friday After Next and the clock ticks down once again on another Friday in the 'hood. Craig (Ice Cube) wakes up in the wee hours of Christmas Eve to find a scrawny Santa stealing the contents of his and his cousin Day-Day's (Mike Epps) apartment including Christmas presents and the rent money. "The ghetto " Craig commiserates "is the only place where you can get fried by Santa Claus on Christmas Eve." To avoid getting evicted--and possibly roughed up by the landlady's newly paroled son Damon (Terry Crews)--the two get jobs as security guards at a local strip mall where their uncle Elroy runs Bros. Bar-B-Q restaurant with the slogan "Tastes so good makes you wanna slap yo' mama." Day-Day's rent-a-cop antics eventually land the duo in some hot water resulting in yet another action-packed Friday. Friday After Next has some great lines but it's mediocre compared to its predecessors. Don't expect the staple marijuana humor here either; it has been replaced with raunchy R-rated dialogue instead.
The best thing about Friday After Next is the terrific character acting by the cast. Ice Cube's Craig is still the most reasonable Jones of the clan and his character's levelheadedness strikes a nice balance between him and Epps' motor mouth character Day-Day. Epps made his first appearance as Day-Day in Next Friday after Chris Tucker who starred as Craig's original sidekick Smokey in Friday left. Together Epps and Ice Cube who also collaborated together on All About the Benjamins fit neatly like a sort of urban Laurel and Hardy. A hilarious new edition to Friday After Next is Katt Williams in the role of Money Mike who runs the Pimp N' Ho's clothing store. Williams' diminutive size doesn't hamper the stand-up comedian-turned-actor's performance as he prances around the strip mall like he's a big man on campus. While the film has some new faces it also has familiar ones like the return of John Witherspoon in the role of Craig's father. This time around Witherspoon has made his character Mr. Jones much more crass.
While all three installments of the Friday series were scripted and produced by Ice Cube Friday After Next marks video director Marcus Raboy's feature film directorial debut. So while the films have some common thematic elements such as having to come up with cash in 24 hours (usually followed by an "or else") or being terrorized by a neighborhood bully they differ in look and style. Raboy's style here is similar to a music video; that is fast paced bordering on frenetic. And while he achieves the campy '70 look he was aiming for you may leave the theater thinking too much happened between Thursday and Saturday. Craig and Day-Day for example spend too much time chasing after the ghetto Santa or being chased by hooligans and not enough smoking weed. Ice Cube and Epps have such a great rapport on screen that it would have been nice to see them sit back and exchange witty dialogue. Their was also too much focus on the older cast members including Witherspoon and Don "DC" Curry who spend the entire film being repulsively raunchy--which is disturbing in a hearing-your-parents-talk-about-sex kind of way.
Now that word is out of Dr. Dolittle's ability to talk to animals his business is booming. Distraught pet owners ambush him outside his home and furry critters tap on his window during dinner all wanting some sort of advice. Joey the Raccoon has a special request: he has been sent by the God Beaver to solicit the doctor's help in saving their forest from developers. Dolittle reluctantly agrees to look for endangered species living in the forest so that the law can be invoked to protect it. He discovers Ava a lone Pacific Western Bear living in the soon-to-be-demolished forest and sets out to find her a mate. Enter Archie a performing circus bear. Dolittle convinces Archie that he would be happier living in the wild and to help the bear adjust to the wilderness the doc relocates his own city-dwelling family to the forest much to his teenage daughter Charisse's (Raven-Symoné) dismay. But the match between the two bears is not exactly made in heaven and when the plan backfires the animals organize and plot a worldwide strike.
Murphy seems lately to have traded in his adult-oriented comedy of the past (Beverly Hills Cop 48 Hours) for one that appeals to a younger audience (Dr. Dolittle Shrek). In Dr. Dolittle 2 Murphy is funny and comfortable enough in his role as the doc who can talk to creatures big and small but it is the animals that generate the biggest laughs. Smooth-talking Joey the Raccoon voiced by Michael Rapaport ( Men of Honor) positively steals the show with lines like "Mafia? We don't know anything about no Mafia do we boys?" The flighty voice of Lisa Kudrow who plays the endangered bear Ava is appropriate enough for the part but you can't help but wonder if it's Phoebe Buffay wrapped in a bear pelt. Norm Macdonald narrates the entire film as Lucky the Dog but the lines are surprisingly vacuous and Lucky spends most of his on-screen time peeing on things and making passes at wolves. A grown-up Raven-Simoné (The Cosby Show) returns to her role as Charisse Dolittle and is convincing enough as the brooding rebellious teenager fed up with animals clambering up her balcony and vying for her father's attention.
As with the acting the animals easily steal the show. The filmmakers use different methods to achieve realistic animal interaction including motion-control cameras that filmed the animals separately and later created a composite shot. Digital animation techniques animate some of the animal's mouths and facial features while others like Joey the Raccoon are completely animatronic and required several people to operate them during filming. These special effects must have burnt up most of the budget however because the outdoor sets with their moss-covered Styrofoam rocks look totally fabricated. The animals were amusing to watch and delivered good one-liners but they were mostly about defecating and bestial libido. Sadly not even the animal kingdom is able to transcend social stereotypes like Pepito the Mexican chameleon who gets excited at the mention of tacos or the French beret-clad monkey who is perpetually drunk. The film also portrays the life of a circus bear in a curiously positive light--unless they really do take bubble baths in swank accommodations--that clashes with the whole animal rights theme.
Seven years earlier after a friend's wedding a group of guy pals vow to stay single for life. To sweeten the deal they put some money into a stock portfolio with the last remaining bachelor taking home the accumulated jackpot which has since grown to a whopping half a million dollars (the 90s market remember?) The competition comes down to two remaining tomcats Michael (Jerry O'Connell) and Kyle (Jake Busey) but the stakes are raised when Michael a struggling cartoonist becomes indebted to a casino owner for $51 000. Facing a certain and painful death if he fails to repay the debt within 30 days Michael plots to get Kyle to the alter with Natalie (Shannon Elizabeth) a former one-night stand who will do the deed for half of the prize money. Problem is Kyle is a sexist jerk and the future bride is a smart and beautiful cop who has her eyes on Michael.
While this film doesn't have too many redeeming qualities Jerry O'Connell is one of them. His character Michael Delaney is one of the few characters in the movie with a conscience. Working from a script that consists mostly of one boner joke after another O'Connell fares quite well considering the lines he has to deliver. He even becomes the underdog you end up rooting for. Jake Busey is a different story altogether: his character Kyle does not evoke the slightest shred of sympathy even as he lies on a hospital bed battling testicular cancer. Kyle is crass vulgar and chauvinistic. He treats women like dirt spewing lines like "I don't want a feminist bitch who'll keep her own name when you marry her." Natalie Parker who plays O'Connell's love interest gives a fair but slightly lackluster performance as an unrealistically bright sharp-shooting cop with a bone to pick. In one scene she casually discusses her love life with her partner during a shoot out in a crack house. Bill Maher (best known for hosting the late-night talk show "Politically Incorrect") makes a cameo appearance as the casino owner. The rest of the cast consists of a lot of blondes who all resemble one another.
Gregory Poirier (See Spot Run) who wrote and directed Tomcats knows his audience and gets right to the point. The film does not try to be clever and it may actually alienate anyone who is not a hormone-laden frat boy. The story is lame and predictable and most of the characters are obnoxious and detestable. There is no outstanding cinematography to speak of and there are no special effects. But let's face it Tomcats' target audience is not going for great visuals. They want their jokes Porky's style and Tomcats definitely delivers those. In a film that features librarian-by-day-dominatrix-by-night story lines lesbian fantasies and Viagra jokes Poirier is too busy catering to teenage boys to worry about being offensive to everyone else.
A salty skipper sets sail with his motley crew on a three-hour tour ... oops actually on a commercial fishing expedition as storms collide to give the Andrea Gail and crew the cruise of their lives. Ten-story waves and a crumbling ocean cruiser threaten to cut those lives tragically short in this Weather-Channel-on-steroids disaster flick. Unfortunately "The Perfect Storm" starts with a drizzle dampened by cheesy subplots but strap yourself in because this film rocks when the waves get rolling.
Can we end the debate about George Clooney having what it takes to be a movie star right here? After kicking butt in "Out of Sight" and "Three Kings " the former "E.R." stud has amply proven himself. He's every bit the leading man here as a fisherman who's in over his head (literally). To say that Mark Wahlberg plays Gilligan to Clooney's skipper wouldn't be quite fair; he completely sheds his Calvin Klein-clad image as a seaman who's love of swordfishing could cost him his girl and his life. But beware: "Storm" is no "Titanic" disaster-glam here. Clooney and Wahlberg are seriously shaggy and grungy for the entire 2+ hours.
Wolfgang Petersen mercifully avoids the silliness of recent disaster spectacles such as "Twister" and "Volcano " instead attempting to tell this true story with dignity. He flounders with the maudlin "Men Who Fish Too Much and the Women Who Love Them" backstory but redeems himself with ocean storms so sensational you won't be able to cancel your Carnival Cruise quickly enough.
Peterson gives us glimpses of the boats deeper into the storm than the Andrea Gail showing us what's in store for our heroes and building a near-unbearable level of tension.
You may not have heard of George Jung before this but you quickly learn that whoever was doing coke in the '70s and '80s (and according to this movie who wasn't) was probably sniffing his stuff. This biopic tracks Jung's travails from his troubled poor boyhood to his pot-dealing days in California to his life as a millionaire cocaine trafficker for the Colombian Medellin cartel. The party has to end sometime and for Jung it does when he's repeatedly busted eventually loses his family and ultimately destroys his life.
Johnny Depp might just get an Oscar nod next year for his performance as a regular guy who turns into the foremost drug distributor in U.S. history. But in all honesty he's startlingly one-note (couldn't he change his facial expression just once? A millionaire drug dealer must have had fun sometime). Ray Liotta and Rachel Griffiths are terribly miscast as his parents (which one is Depp supposed to take after?) although Liotta is quite good as Jung's heartbroken but accepting father. Penélope Cruz goes overboard as Jung's hateful wife and clunks her way through her lines; her bad wigs make it even worse. Now an open plea to casting directors everywhere: Please put Paul Reubens in your next movie. Without overdoing it he's great as a femme hairdresser who becomes the first to introduce Jung to his life of crime.
After the schmaltzy beginning showing Jung's childhood the movie cruises into high gear using nifty camerawork and freeze-frames to convey his thrilling rise to trafficking stardom. Then a little over the halfway point the film loses a lot of steam and starts exuding sap. Maybe it's the subject matter maybe it's the direction but the tear-jerking last half hour doesn't support its snappy carefree start. Depp looks as intense celebrating his birthday as he does when his family leaves him; moreover Jung seems to have had no moral concern for his actions (except where it affected him). So while you do feel sorry for the guy you aren't as sorry as the film implies you should be. The movie tugs unrelentingly at the heartstrings the coup de grace a full-screen mug shot of the wretched real-life inmate Jung.