Because I'm driving the big car and you're driving the little car. Because Eddie and Martin are innocent of the crime, you actually feel sorry for their situation. Charlie offers to stay behind to continue the lab work. The film seems like it was longer at one point, but the film on display here really pleased me. Rayford Gibson and Claude Banks travel south and get ripped off in a card game. Generally, the movie avoids the kinds of cliches the genre routinely falls back on.
When it does, in the deadly encounter that sends Tom Ripley into his new life, the film changes greatly in tone. That without the unjust prison term, they would never have had the opportunity to enjoy such a friendship? Back at the lab, Peter injects Jasmine with an experimental governing agent, earlier tested on one of his rabbits; their feelings for each other deepen. In Life, director glides his camera along the corridors of the satellite as if it, too, were weightless, and the crisp editing and the intense score provide plenty of nervous suspense. Who are they, and why were they chosen to work here at the way-station, instead of moving onto the next stage like everybody else? They both find themselves in big trouble with Spanky, the club owner Rick James , who is in the process of drowning Claude when Ray saves both their lives by talking them into a job: They'll drive a truck to Mississippi and pick up a load of moonshine. How does the movie use violence to generate suspense? With very funny turns from Martin Landau as the brothers' wisecracking stepfather, Sally Kirkland as their unexpectedly vixenish mother and especially Elizabeth Hurley as the model with whom fans in an orgy of the vicarious desperately want Ed to have sex, the film which also briefly brings on Dennis Hopper as a blast from Ed's past stays conventional yet fresh, even when it has to scramble for a sunny ending.
Overall, it's too intense for younger or more sensitive teens, but slightly older viewers may enjoy the well-crafted tension. Out of the two hours of this film I must have laughed a total of 12 seconds. A couple of men are knocked out with a gun, a man is punched in the crotch and another is punched in the stomach. It tries to make you pee your pants with its jokes, and yet slap your emotions around with the drama. In flashbacks we see this odd couple thrown. As the main characters, the two comedians prove just how valuable they are. Anyhow, he gets it right this time.
Part comedy, part tragedy, all drama infused with just a bit of whimsy, it's a brilliant piece and one of the most underrated outings from both of it's high profile stars, Eddie Murphy and Martin Lawrence. It succeeds as a drama with comic tone. The story doesn't create as good a relationship between Ray and Claude as it could have done, and ignores any brutality that may occur, but it still manages to have poignant things to say about friendship. The film has some amusing prison moments - the governor holding his daughter's baby up to each of the inmates to determine who the father is was actually a stroke of genius. This is one of my all time favorite movies, with great performances of Eddie Murphy and Martin Lawrence, the support cast is very funny too. The movie then flashes back to 1932 to begin telling their story, and continues as they age in prison in Mississippi. That night, the infirmary catches fire, and they seemingly perish in the flames.
All of the characters pull this off - over the years we see Ray Eddie Murphy change from a young confident individual who never gives up hope to a tired old grouchy man who is hard of hearing; but its never sad. While Peter and Jasmine are at a conservatory, Peter notices a streak of white in her hair, and decides that they should return to the lab. I was happy to see such a wonderful ensemble cast. As would be expected, though, the use of strong language and bad behavior to setup the punch lines marred the film. His films embrace the mystery of life, and encourage us to think about why we are here, and what makes us truly happy. But it doesn't work that way, and life goes on, decade after decade, while the real world is only hearsay. Peter gets phoned by the fugitive Mark, borrows Charlie's car to confront him, and demands his help with saving Jasmine.
The year is 1958, and it seems an impossibly glamorous time as depicted among pampered American expatriates in some of Italy's most breathtaking settings. Ed's success on television is measured by the advertisers' names that flash constantly below his image, starting with pizza parlors at first and going to brand names like Maytag when he makes it big. Martin Lawrence shares many of the same attributes as Murphy. He succeeds; Jasmine tells him she wanted to look pretty for him. He begins telling the two young inmates digging the graves his friends' life story.
It seems fitting that the two lively, cartoonish cowboys of comedy should share the screen, and it's lucky they got such a wicked script. Murphy and Martin Lawrence get into trouble after a murder in the early-1930s and end up spending their lives in prison. This is one of his funniest movies in years. Their characters are likable, their performances are touching, they age well, they survive. But when both of the run afoul of a local gangster, they're sent to Mississippi to get some Mississippi Hooch. Murphy can be devastatingly funny. Each time I watch it, I see something new.
He insists that the governing agent doesn't work. He eventually comes out the best rounded character in the fractured storytelling. Ray and Claude are given life sentences and shipped off to jail, where they must think of a way to prove their innocence and avoid the brutal guards while battling their biggest enemies -- their opposing personalities. Twice it's implied a man and woman have sex: in one scene they mildly flirt, and we later see him walking down a staircase with his shirt untucked and his tie untied. I never would have thought of them as a great team,but I was pleasantly surprised here.