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Premiere of Universal Pictures' 'Jurassic World'

Chi McBride and Julissa Mcbride - Premiere of Universal Pictures' 'Jurassic World' at Dolby Theatre - Arrivals at Dolby Theatre - Hollywood, California, United States - Tuesday 9th June 2015

Chi McBride and Julissa Mcbride
Chi McBride and Julissa Mcbride
Chi McBride and Julissa Mcbride
Chi McBride and Julissa Mcbride
Chi McBride and Julissa Mcbride

Premiere of 'Mom's Night Out' - Arrivals

Chi McBride and Julissa McBride - Premiere of 'Mom's Night Out' held at the TCL Chinese Theater - Arrivals - Los Angeles, California, United States - Tuesday 29th April 2014

Hustlers Trailer

The pawn shop is the last resort for most broke people; the place where the impoverished and the desperate sell off their most prized valuables in exchange for an obscenely disproportionate amount of money. In 'Hustlers', it's where three dramatic stories begin; first, a pair of newlyweds find themselves in the shop where, as fate would have it, the groom finds the ring of his first wife who has been missing for some time. While he decides to seek out her kidnapper, a pair of small time criminals are concocting a plan to rob their meth dealer - though their armed robbery plan is inhibited when one of them pawns his shotgun. Meanwhile, one serious-minded Elvis Presley impersonator wishes to pawn his alleged gold Elvis memorabilia as he moves into the town hoping to land a new job in a fairground.

Continue: Hustlers Trailer

"Draft Day" Los Angeles Premiere

Chi McBride - "Draft Day" Los Angeles Premiere At Regency Village Theatre - Westwood, California, United States - Monday 7th April 2014

Chi McBride

Draft Day Trailer

Sonny Weaver, Jr. is the general manager of National Football League team the Cleveland Browns who is faced with immediate dismissal if he does not put together an unbeatable draft pick for his team. With pressure from his associates and from Browns fans, he wants to make a spectacular impact on the football world on draft day but, with his ideas being very different from everyone else's, he's in for a big struggle to bring everyone round to his way of thinking and after making what seems like a professionally suicidal trade, even his mother starts to lose faith in him. Excitement builds as draft day nears, with everyone baffled by what could possibly be in store for the Cleveland Browns; but will Sonny pull through with the number one pick of the year?

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Marvel's Avengers Assemble: Assembly Required - Clips

Marvel heroes Iron Man, Hulk, Thor, Captain America, Hawkeye, Black Widow and Falcon - The Avengers' winged new member - are setting out on their latest missions to save the world for the universe's most formidable supervillains from Red Skull to M.O.D.O.K. However, evil becomes the least of their worries when they struggle to find common ground with each other and must first fight a bout of cabin fever if they want to have any hope in saving humanity. Can these heroes stand to live under one roof? Or will their own tensions and disagreements have catastrophic consequences?

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Paranoia LA Premiere

Chi McBride - Paranoia LA Premiere - Los Angeles, CA, United States - Friday 9th August 2013

US premiere of PARANOIA

Chi McBride - Red Carpet Arrivals for the US premiere of PARANOIA - LA, CA, United States - Thursday 8th August 2013

Chi McBride

TV Review: Golden Boy Doesn't Score Gold, But Still Worth the Watch

Chi McBride Theo James

Cops shows have been done almost to death. While there is a saturation point for everything, so long as new story lines can be developed or just a modicum of updating is applied to a rehashed tradition then there's the possibility for something good, if not great. That's what Golden Boy is it seems. As reviews roll in, no one hates it, few love it but most enjoyed it.

The Boston Globe goes so far as to say there are a few 'outstanding elements'. The premise of Golden Boy is in its title and part of its charm, claims the website. Following a rookie who has, through his bravery rather than skill and experience, found himself in a lauded position and given the opportunity to head straight to the homicide department despite having no experience. "The title [Golden Boy] is both truthful and sarcastic." However, in many respects the show seems to reflect their description of its central character, Walter Clark, "You want to like him, and he is likable, but he succumbs to some unattractive methods in his hunger for success." 

USA Today sums up their review by saying "The scripts offer a well-balanced mix of office politics, underlying mystery and weekly cop procedural. And the first-rate cast ties it all together with abundant skill." Adding, "No, that still isn't enough to win the Boy a TV gold medal. But silver is nothing to sniff at."

Continue reading: TV Review: Golden Boy Doesn't Score Gold, But Still Worth the Watch

First Sunday Review

You're a studio boss and you want Tyler Perry, but Lionsgate ain't giving up its share of the profitable African-American phenomenon any time soon. So, after scouring the urban playwright landscape, you stumble upon David E. Talbert. From a PR perspective, the noted creator of many "inspirational musicals" has all the credentials necessary to be the next demographically correct cash cow. All that's missing is the drag act dynamic and the Oprah Stamp of Approval. Both may be necessary to make Talbert's feature film, First Sunday, a beyond-the-target-audience hit. This well-meaning if ultimately manipulative morality tale definitely needs some kind of extra entertainment spark.

When we first meet Durell (Ice Cube) and LeeJohn (Tracy Morgan), they have just been snagged by the cops for their involvement with some stolen, pimped-out wheelchairs. Sentenced to 5,000 hours of community service by a no-nonsense judge (Keith David), they soon find themselves picking up trash along the streets of Baltimore. When the gangster owners of the medical equipment come looking for payment, LeeJohn is suddenly $12,000 in the hole. Then Durell learns that his Baby Momma Omunique (Regina Hall) needs $17,000 to keep her beauty shop open, or she'll have to move to Atlanta -- and take the couple's son with them. Desperate for money, the guys stumble into the neighborhood church, where Pastor Mitchell (Chi McBride) and his snooty Deacon (Michael Beach) have just announced the successful raising of $300,000 for a new building project. So naturally, our heroes decide to rob the congregation.

Continue reading: First Sunday Review

The Brothers Solomon Review

There are moments when time seems to stretch into infinity -- seconds are a lifetime and minutes are an eternity. You usually encounter this phenomenon while sitting in a dentist chair, waiting out that last hour of work, and, on occasion, watching a terrible movie. The Brothers Solomon grinds down time in the same fashion. What feels like a three-hour descent into boredom is only a 90-minute test of might -- pitting you against unlikable characters, horribly written dialogue, and direction that's as painful as a root canal.

The Brothers Solomon is destined to become a movie you find yourself watching on late night cable. As with most "comedies," the laughs are the focus and not the simple plot -- in this case, two home-schooled, degenerate brothers try to find a woman to impregnate in an attempt to fulfill their father's dying wish of having a grandchild. After all, absurd plots make for hilarious scenes, right? No, and the two Wills (Arnett as John and Forte as Dean) suck the life right out of this film with the help of director Bob Odenkirk. You may remember Odenkirk from HBO's Mr. Show with Bob and David or that Seinfeld episode in which Elaine is dating a med student taking his exams and she helps him study in the hopes of dating a doctor. If you watch The Brothers Solomon with your eyes closed (and you are not asleep), you would swear that the stale dialogue spoken in a self-aware, "look at me, I'm saying something funny" tone was coming straight out of Odenkirk's mouth.

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Let's Go to Prison Review

I can attest first-hand that there are certain facts about Let's Go to Prison that might make it seem worthwhile. It was directed by Bob Odenkirk, the "Bob" half of the sometimes brilliant sketch comedy show Mr. Show with Bob & David; it was written by other sketch-comedy veterans, driving forces behind The State and, more recently, Reno 911; and it stars Will Arnett from Arrested Development, a show that was not sketch comedy but still favored by comedy connoisseurs. Other loose-collective comedies of this time period, like Talladega Nights or The 40-Year-Old Virgin, pool comedy's best and brightest to thoroughly entertaining results. Why should this lower-wattage but still talent-heavy film be any different?

Well, Let's Go to Prison also stars Dax Shepard, so maybe that should sound the alarm. But Prison is actually too mediocre to explain away by the presence of one guy from Punk'd. In fact, Shepard isn't a problem at all. He plays John Lyshitski (the film nicks one of the saddest Farrelly brothers trademarks -- non-jokes where the very presence of the S-word functions as a de facto punchline), a career petty criminal plagued by his own ineptitude and a hardass judge. Before he can get revenge, the judge dies -- so naturally he frames the judge's spoiled son, Nelson Biederman IV (Arnett), and gets himself thrown back in jail, pretending to befriend Biederman but tormenting him behind his back.

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Annapolis Review

We've all seen the title card "Inspired by true events." Justin Lin needs the slightly altered "Inspired by other movies" disclaimer attached to his studio-guided Annapolis, a disappointing and formulaic follow-up to the filmmaker's kinetic pet project Better Luck Tomorrow.

The day before he's set to enter the Annapolis-based U.S. Naval Academy, Jake Huard (James Franco) paints the town one last time with his crew. On his buddy's urging, he flirts with watering-hole floozie Ali (Jordana Brewster) but gets distracted when a bar fight breaks out. The next morning, during warm-up drills, Huard is shocked to discover this petite, exotic beauty is one of his Naval instructors.

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Waiting Review

Those who have worked in food service know the challenges and difficulties the trade involves. They also know, as patrons, how to conduct themselves at a restaurant. More likely than not, they have observed a few incidences in which an employee at a restaurant -- quite possibly themselves -- has sought revenge on an especially difficult customer by tampering with the food in nasty, nauseating, stomach-churning ways, and they don't want something similar to happen to them.

I've never worked in food service myself. After watching Waiting, I thank my lucky stars for that. It does not appear to be an overly gratifying profession. Strenuous hours. Difficult bosses. Whining customers. Demanding environment. I have, however, been a difficult customer in the past. Waiting has woken me up to the reality of my nature, and the possible consequences I could receive. It goes without saying that my days as an obstinate customer are over.

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Cradle 2 The Grave Review

DMX is a hip-hop legend. With his growling, almost metallic, voice, hyped beats, and rugged hardcore lyrics, he transcends the energy and edginess of urban street culture with a unique hybrid style of rapping, singing, and even barking into the mike. Until now, he's successfully crossed over into film, portraying ruthlessly savage characters in Belly and Exit Wounds that seem to suit his thuggish gangster persona. But, unfortunately for director Andrzej Bartkoiak, he's not nearly as comical as Chris Tucker. And Jet Li lacks the personality of Jackie Chan. And thus Cradle 2 the Grave bombs in its attempt to recapture the charisma between foreign martial-artist cop paired with smooth-talking, tough-guy counterpart of Rush Hour and its kin.

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

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