All I ever wanted in life was to be a 1920s alcohol boot-legger. Alas, I love movies entrenched with the notion as such.
Eddie Murphy has christened hollywood with an idiosycrasy of his brand of movies. My mother always said: “Even his smile is funny”. We all chuckled at the plight Eddie’s characters found themselves in; from Golden child to Nutty professor to the i-respondsible cop of Beverly hills.
Ray Gibson and Claude Banks clash. Ray, Eddie Murphy, a thief, steals Claude’s, Martin Lawrence, empty wallet in a illegal alcohol fueled club with all the amenities apt to its space, time, era and context. By chance, Ray saves Claude’s arse from the plight of the club’s manager, who we come to find Claude owes cash.
We have all had our time stolen by emotional comedies by Hollywood’s attempts to bind laughs into life’s tragedies; most fail. ‘Life’ cares for our time. A rare episode in Holywood fiction that pulls the viewer into a bi-polar-esq 108 mins of cries and back to laughs; sometimes we feel both simultaneously.
Nearing the end of the prohibition era, Claude and Ray’s life takes and awful twist, landing the two to a life in prison for a crime that isn’t theirs, ensued after their uncanny first meeting. The two apparently vastly different personalities ruckus over daily prison happenings; routines are forced to be harder as the two battle but show love, respect and friendship.
The Auxiliary force, among them Bernie Mac, support the context of a prison in a vastly racist era. The black guard refer to the white prison chief as ‘boss’ and are always sure to catch on black inmate mis-chief within the prison.
Anymore words will spoil the ambient of Ray’s Boom Boom Room. A sure watch: 7.7/10.