We're not far into the 2020s and it might be fair to say we already have two films that are emblematic of the state of modern big-budget filmmaking. On one hand you have the likes of the MCU - love it or hate it - displaying the unprecedented power and potential (and often pitfalls) of deploying an integrated cinematic universe. And on the other, you have a pervasive rehashing of past glories in the form of endless and often unlikely remakes. While the likes of Spiderman No Way Home exemplifies the former, I can think of no better - and thus, worse - example of the latter, than Coming 2 America. If you think the title is cringeworthy, you ain't seen nothing yet.
1988's Coming To America was a seminal experience at the time. It was my favorite comedy growing up, and it seemed like my whole generation could quote entire scenes from it on a whim. Little did I know what an unlikely miracle it had been, with a strained relationship between star and director on one hand, and a trailblazing near all-black cast giving studio executives doubts on the other. This second point was particularly a rarity in my native Europe, and looking back, the talent on display is just insane: Eddie Murphy and Arsenio Hall need no introduction, but the likes of John Amos, Samuel L. Jackson, Eriq La Salle, Madge Sinclair and James Earl James all shine here, and between their performances and the writing, the characters forge a place in your heart. What this film was not, however, was crying for a sequel.
Fast-forward 3 decades, and the prevailing risk-aversion of big studios meant such a sequel was rather overdue. Amazon, eagerly positioning themselves as the great artistic grave-robbers of the future, have enlisted Murphy, Hall and CO, as well as director Craig Brewer, fresh from the unlikely hit Dolomite Is My Name, to continue the story of Prince - now King - Akeem. Because current year politics are what they are, the new script feels obliged to comment on the first film rather than simply build upon it, following the adventures of Akeem's children. The neutered politics don't work. Neither does the often painfully drawn-out humor, reeking of undisciplined improv as was the case with 2016's misguided Ghostbusters reboot. Comedy is all about energy, contrast and timing, and none of these virtues apply in any way shape or form to the present film. What is worse: in its quest to meta-comment on the first film and provide a kind of soft-reboot, it does a huge disservice to the original's characters. Because Akeem is now put in his father's former role, it undoes all his arc from the first film. The only character who registers a bit is Wesley Snipes as a bonkers neighboring dictator, and even that could have been significantly improved.
Normally, knowing the colossal amount of work that goes into even the most underwhelming of films, I would try to compliment one aspect or other. With this sorry opportunistic mess, I can only suggest you spare yourself and find something better to do with your time.
Shame on everyone involved!
1988's Coming To America was a seminal experience at the time. It was my favorite comedy growing up, and it seemed like my whole generation could quote entire scenes from it on a whim. Little did I know what an unlikely miracle it had been, with a strained relationship between star and director on one hand, and a trailblazing near all-black cast giving studio executives doubts on the other. This second point was particularly a rarity in my native Europe, and looking back, the talent on display is just insane: Eddie Murphy and Arsenio Hall need no introduction, but the likes of John Amos, Samuel L. Jackson, Eriq La Salle, Madge Sinclair and James Earl James all shine here, and between their performances and the writing, the characters forge a place in your heart. What this film was not, however, was crying for a sequel.
Fast-forward 3 decades, and the prevailing risk-aversion of big studios meant such a sequel was rather overdue. Amazon, eagerly positioning themselves as the great artistic grave-robbers of the future, have enlisted Murphy, Hall and CO, as well as director Craig Brewer, fresh from the unlikely hit Dolomite Is My Name, to continue the story of Prince - now King - Akeem. Because current year politics are what they are, the new script feels obliged to comment on the first film rather than simply build upon it, following the adventures of Akeem's children. The neutered politics don't work. Neither does the often painfully drawn-out humor, reeking of undisciplined improv as was the case with 2016's misguided Ghostbusters reboot. Comedy is all about energy, contrast and timing, and none of these virtues apply in any way shape or form to the present film. What is worse: in its quest to meta-comment on the first film and provide a kind of soft-reboot, it does a huge disservice to the original's characters. Because Akeem is now put in his father's former role, it undoes all his arc from the first film. The only character who registers a bit is Wesley Snipes as a bonkers neighboring dictator, and even that could have been significantly improved.
Normally, knowing the colossal amount of work that goes into even the most underwhelming of films, I would try to compliment one aspect or other. With this sorry opportunistic mess, I can only suggest you spare yourself and find something better to do with your time.
Shame on everyone involved!