Anthony Anderson seen in black tie dress on the red carpet of the 2016 BET Awards. The actor co-hosted the award ceremony with Tracee Ellis Ross. The Microsoft Theater L.A Live - Los Angeles, California, United States - Sunday 26th June 2016
Anthony Anderson - Grand Opening of Beauty & Essex from Chef Chris Santos and Tao Group at The Cosmopolitan of Las Vegas at The Cosmopolitan of Las Vegas - Los Angeles, Nevada, United States - Saturday 14th May 2016
Anthony Anderson - Barbershop: The Next Cut Neighborhood Tour Chicago Screening and Red Carpet Arrivals at Kerasotes Showplace Icon in Chicago at Kerasotes Showplace Icon - Chicago, Illinois, United States - Tuesday 15th March 2016
George Lopez and Anthony Anderson - George Lopez, Anthony Anderson and his Family, Studio City, California - The Lopez Foundation celebrates 4th of July with fireworks and a salute to our troops held at the CBS Studios Monday 4th July 2011
In updating the Little Red Riding Hood legend, writer/directors Cory Edwards, Tony Leech, and Todd Edwards found a fairy tale with ample room left to explore. We all know what happened when Red (Anne Hathaway) trekked through the forest to visit her grandma (Glenn Close). The big, bad wolf (Patrick Warburton) waited patiently under the sheets, barely masking a nose to smell with, those ears to hear with, and a set of choppers with which to eat.
Continue reading: Hoodwinked Review
Heidi (Abbie Cornish) is a naïve teen who lives with her mom and her boyfriend. Before your mind starts flopping around in the gutter, no, the boyfriend does not molest her and he is not an abusive drunk. One morning, after her mom leaves, Heidi comes onto the boyfriend and they begin to kiss, right as Heidi's mom, Nicole (Olivia Pigeot) comes back in to catch them. Quickly, Heidi runs off to the town of Jindabyne, where she shacks up with a local yuppie for a place to stay. Second night, she meets the mysterious and handsome Joe (Sam Worthington), who takes her back to a hotel where they have at it, like we all know they will. Heidi makes friends with the hotel manager Irene (Lynette Curran) and takes a job at the local gas station with Bianca (Hollie Andrew), a strange, presumptuous woman around Heidi's age. The film mainly consists of Heidi trying to keep these relationships in check and trying to make a life out of the nothing that she has.
Continue reading: Somersault Review
Somehow inspired by this bit of Australian folklore, Jerry Bruckheimer and a posse of conspirators (notably director David McNally, famous for the boobs and booze epic Coyote Ugly) decided to turn this story into a by-the-book chase movie. While Kangaroo Jack does deliver the fart jokes, bumps on the head, and anthropomorphized CGI animals necessary to keep kids interested, it never really delivers quality laughs or whimsy. It borrows watered-down versions of car chases, airplane chases, jeep chases, and gunplay from other Bruckheimer fare such as Con Air and Gone in 60 Seconds, that seem more played out than exciting.
Continue reading: Kangaroo Jack Review
Arquette, however, through the muck of this movie, is actually good as the hapless idiot. Sure, he's played the part before, but in a film like this, Arquette gets to be genuinely likable, especially in the face of the W.C. Fields edict (never work with dogs or children). Maybe it's his childish demeanor or puppy dog face that makes him fit right in, but he's one of the only bright spots of this film.
Continue reading: See Spot Run Review
Shante has a bunch of friends, and a handsome, charming boyfriend named Keith Fenton (Morris Chestnut), a successful lawyer himself. One night, Shante finds her love dancing with another woman at a nightclub -- and so begins the vicious battles of the sexes. Will the two get back together, or will this be the end of their relationship?
Continue reading: Two Can Play That Game Review
Poor acting combined with the plausibility level of a G.I. Joe cartoon haunts Cradle 2 the Grave from the start. Bartkowiak (Romeo Must Die) presents the audience with two highly specialized entertainers unable to break out of their typecast niches. For Jet Li, whose English is barely comprehendible, he cannot bond with X unless its through the universal language of fighting, and for X, while he can flex his tattooed body and be intimidating as anyone, his "tough guy" persona is limiting. So we have two Alphas with no sense of humor, facing a noticeable language barrier and an inhibiting script. No doubt the film would have been better if the villain Ling, played by Mark Dacascos (The Brotherhood of the Wolf), were to have switched roles with Li. Then at least he and X could have had at least one much-needed bonding moment. Instead, our heroes are left simply staring at one another in awkward downtime as they wait for the action to arrive.
Continue reading: Cradle 2 The Grave Review
It's such a damn shame when such a talent and versatile actors like Jet Li and Delroy Lindo re subjected to portray such stereotypical, mundane, pointless characters. To all those who are unaware of Jet Li, stop reading right now and run down to your local video story and ask for Once Upon a Time in China, Bodyguard from Beijing, and Hitman. You might have seen him in that techno-redubbed version of Black Mask or as the evil Chinese bad guy in Lethal Weapon 4 that had be shot and stabbed before Mel Gibson could save face and not get his ass kicked again. But Jet Li's character in Romeo Must Die reminds me of the circus clown hired to keep the kiddies smiling in the film.
Continue reading: Romeo Must Die Review
That's the crux of director John Whitesell's semi-parody on ethnic and societal stereotypes, and while suffering from being too thin and silly at times, the idea is pulled off better than one might expect. B-Rad is really Brad, as in Brad Gluckman, a super-privileged white Jewish boy who is forced to see what life in the 'hood is really like -- and finds that he actually fits in a little.
Continue reading: Malibu's Most Wanted Review
When the Slocumb family patriarch -- evidently an ornery sonofabitch -- keels over in front of wife Whoopi Goldberg, it sets off a Slocumb pilgrimage back to the tiny town of Lula for a weekend of last respects. But, like most extended families, there is friction, conflict, and the occasional secret.
Continue reading: Kingdom Come Review
Then a miraculous thing happened: Cody Banks 2 started and there was a heavenly quiet--occasionally broken by laughter--that was maintained for the next hour and forty-odd minutes. That's a tremendous compliment for a kids' movie. I would like to say that Cody Banks 2 has a lot to offer adults, as well. For anyone over the age of 16, the movie moves briskly and doesn't make you curse the gods of time. In this pre-summer movie season, those qualities will be a blessing.
Continue reading: Agent Cody Banks 2: Destination London Review
No quote better captures the excruciating experience of watching, or rather surviving, My Baby's Daddy. It's stupid and pointless. It's vulgar and crass without being remotely funny. It's racist and creepy, with a streak of sentimentality that's as genuine as a con man's handshake. It's full of more clichés than TV Land's primetime lineup. Writing a review is almost pointless, because anything I write will sound like a warning screamed from the rooftop.
Continue reading: My Baby's Daddy Review
Until recently, Howard has been one of American film's mostly unnoticed gems. A journeyman actor since the early '90s, he came into his own in Malcolm Lee's romantic comedy The Best Man, in which he served as the sleepy-eyed provocateur, wisely watching all the fools who surrounded him, goading them into fury by slyly undercutting their fantasies with his keenly observed truths. It was one of that year's great performances, but being mired in such a conventional work (not to mention being in a black film aimed at black audiences, and thus mostly invisible to the critical establishment), he never received his due. He's worked steadily since then, coming into his own with this year's Crash - turning in an open wound of a performance that stood out even in that film's excellent ensemble. In Hustle & Flow, he's found a role that puts him in the spotlight, and he grabs the role tight with both hands, though never so showily as to make you notice how hard he's really working.
Continue reading: Hustle And Flow Review
Ice Cube finally puts down the gun and bong (yes, he's doing another Friday movie after this) in his best role since Three Kings. Here he plays Calvin, a soon-to-be father with aspirations for greatness who's inherited his father's struggling barbershop in the south side of Chicago. In a moment of panic, he sells the shop to a local loan shark (Keith David). But soon after, we meet the colorful crew that spend their day at Calvin's: the loony old-timer barber Eddie (Cedric the Entertainer), educated but snotty Jimmy (Sean Patrick Harris), two-strike thug Ricky (Michael Ealy), shy but sweet Dinka (Leonard Howza), pimped out "wigger" Isaac (Troy Garity), and tough girl-done-wrong Terri (hip-hop queen Eve). Spending a good day with these regulars, Calvin starts to realize his mistake, and begins working to set his error straight.
Continue reading: Barbershop Review
In case you need convincing, here's the setup. Malcolm King (Anthony Anderson) is a tycoon who's on the verge of selling his company for $25 million. (Apparently sales have been brisk for the company's bestselling product, "Boneagra," an erectile dysfunction medicine whose ads feature the tagline "Straight Up.") The problem is, Malcolm is in the middle of an acrimonious divorce, and his wife is determined to take him for everything he's worth. So he hatches a plan to stage his own kidnapping, demand an extravagant ransom from himself, and thereby shield his wealth from his wife. (How exactly this is going to work after the ransom is paid is never actually explained.)
Continue reading: King's Ransom Review
A modest, personable slice of South Side Chicago life, "Barbershop" is a comedy with a sense of community, populated by three-dimensional personalities that break out of their character molds.
Ice Cube stars as Calvin Palmer, the reluctant inheritor of his family's tonsorial storefront -- a neighborhood staple for 40-plus years which is now losing enough money that Calvin is secretly considering selling. A habitual get-rich-quick schemer, he thinks he'll make a better living setting up a garage-sale-supplied recording studio in his basement.
Facing a possible foreclosure after bank loans don't come through to keep the shop afloat, Calvin is beginning to think a $20,000 buyout offer from a greasy local loan shark (who wants to turn the place into a "gentlemen's club") is sounding pretty good. But over the course of one day in the shop, he finally begins to see why his father and grandfather were so willing to struggle to keep the place alive as a touchstone for their depressed part of town.
Continue reading: Barbershop Review
Director Doug McHenry strikes an impressively deft balance between slapstick and subtlety, satire and sincerity in the dysfunctional family funeral comedy "Kingdom Come."
Combining earnestly conflicted devotion with over-the-top raillery in much the same way "All In the Family" once did, the story concerns a clan called the Slocumbs gathering in their rural home town to say goodbye to an irascible patriarch. Daddy Bud, as he was known, was so universally disliked that his wife (Whoopi Goldberg) actually wants his headstone engraved with the eulogy "mean and surly."
The dead man's eldest son Ray Bud (LL Cool J) was probably closest to him, but his most vivid memory is of Daddy Bud ridiculing him over his drinking problem -- a problem he licked some time ago, although the stress of the funeral may cause a relapse.
Continue reading: Kingdom Come Review
For the first time since "Under Siege" Steven Seagal has managed to make a testosterone-fueled flick that isn't mind-numbingly insipid -- so I guess it would have been too much to hope that "Exit Wounds" might also make even the most remote amount of sense.
This is a movie in which Seagal stars as a tough cop who plays by his own rules (ooo, there's a shock!) and gets in trouble with the brass. This I buy -- it's stupid and unoriginal, but I can go with it if the action is entertaining enough.
This is also a movie in which comely, 31-year-old Jill Hennessey ("Law & Order") plays the commander of the toughest precinct house in Detroit and rapper DMX plays a dot-com millionaire on a private undercover mission to expose police corruption by selling heroin on the web.
Continue reading: Exit Wounds Review
As wretched as any Ed Wood bomb, and without the camp factor to make it train-wreck entertaining, "Urban Legends: The Final Cut" is a serious contender for the worst horror movie ever made.
It's not just that the movie isn't the least bit scary. It's not just that the killer picks off his victims in the most humdrum manner. It's not just that almost every performance is so flaccid that the actors look like they're reading cue cards even when they scream.
It's not just that the slasher wears a fencing mask, signaling an utter lack of originality and adherence to copycat screenwriting formula (if Jason had worn a football helmet in "Friday the 13th," this guy would be wearing a baseball cap, no doubt.) It's not even that this pathetic excuse for a suspense movie has the unmitigated gall to compare itself to Hitchcock.
Continue reading: Urban Legends: The Final Cut Review
By pairing rappers-turned-actors with martial-arts action stars, director Andrzej Bartkowiak has carved out his own private genre of hip-hop-kung-fu pictures -- and entrenched himself in a flashy but fruitless rut.
After the misfiring with 2000's overproduced "Romeo Must Die" and miscasting the over-the-hill Steven Seagal in 2001's "Exit Wounds," he's assembled many of the same actors (minus Seagal) for "Cradle 2 the Grave." This time it seems Bartkowiak's formula might finally work -- right up to the point where the diamond-heist-and-kidnapping plot is jettisoned in favor of an imbecilic nuclear weapons twist that turns the film into radioactive waste.
Hip-hop star DMX displays a natural toughness and affection as a top-notch vault-buster whose 9-year-old daughter is abducted by smugglers bent on obtaining the rare black diamonds he snatched in the film's opening action set-piece -- a stylish and exciting, if far-fetched, safe-deposit box heist and subway tunnel getaway.
Continue reading: Cradle 2 The Grave Review
The "Scary Movie" horror spoofs must be some kind of mutant, alien movie franchise. There's just no other explanation for the fact that the sequels actually keep getting better. And unlike the hilarious but indefensibly scattershot second installment, "Scary Movie 3" even has a coherent combo-platter plot.
Serving up campy twists on The Ring's" killer-videotape plot and the alien invasion from Signs" -- with a little mock-"8 Mile" thrown in for flava -- the story catches up with wide-eyed dingbat heroine Anna Faris (who goofed on Neve Campbell's "Scream" character in the first two films) after she has become a blonde TV reporter (a la Naomi Watts in "The Ring") who discovers the creepy VHS cassette that curses anyone who watches it to die horribly in seven days. But when she tries to warn the world of its dangers, her producer puts his foot down: "No more paranoid on-air rants about the supernatural!"
Meanwhile Charlie Sheen -- returning to the kind of parody he showed such a deadpan knack for in 1991's "Hot Shots!" -- plays a farmer and former priest (shades of Mel Gibson in "Signs") whose cornfields have been flattened in a mysterious "crop circle" that from above reads "Attack Here!" with an arrow pointing to his house.
Continue reading: Scary Movie 3 Review
With an early, inappropriately crude and extremely long-running joke about infected genitals, the down-under comedy "Kangaroo Jack" blows its chance for a shoulder-shrugging, it's-good-enough-for-kids recommendation. But since the rest of the movie is too flimsy for adults to enjoy on their own, there doesn't seem much point in explaining that it does have its moments.
The plot finds a Brooklyn mobster's stepson (Jerry O'Connell) and his bad-luck buddy (Anthony Anderson) flying to Australia to make a $50,000 delivery in a "mission of absolution" after accidentally blowing the cover on a big mafia operation.
While traveling through the Outback, they dress up a road-kill kangaroo in sunglasses and Anderson's "lucky jacket" for a few laughs and a few silly snapshots to send back home. But the not-really-dead 'roo springs to life, scaring the bejezus out of the guys, then hopping off into the wilderness, still wearing the jacket -- which holds the 50 large in its pockets.
Continue reading: Kangaroo Jack Review
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