Brian Robbins
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Connections, in both directions
The dialogue in "The Perfect Score" mentions " The Breakfast Club ," which is nice.
The results are a retread of The Breakfast Club dressed up as a caper flick.
"The Perfect Score," a suspiciously stale MTV Films production, references "The Breakfast Club" about midway through, and the movie's few good moments echo the spirit of existential, youthful rebellion captured by that 1985 minor classic.
In fact, Francesca jokes at one point that they should all get real and dish about their feelings, � la The Breakfast Club --which is indeed what they end up doing.
A remake in quality and spirit of the "what were they thinking" classic Hackers, Brian Robbins' The Perfect Score is one of those stunted adolescent teensploitation flicks that makes one pine for the suddenly-glory days of Fresh Horses and The Breakfast Club --which, as it happens, seems to serve as this flick's carbuncular muse.
Similarly, it tries to blend movies such as The Breakfast Club (the characters roughly correspond, with one left over), Mission Impossible and Ocean’s 11, with little success or originality.
Some have wondered if this is Redmayne’s "Norbit"—a reference to the dreadful Eddie Murphy comedy that is rumored to have cost him a best supporting actor nod for his turn in Dreamgirls—but that seems unfair.
The name, of course, references that time when Eddie Murphy was primed to win the Best Supporting Actor Oscar for 2006's Dreamgirls but instead came up empty-handed, with one theory being that his critically reviled comedy Norbit was in theaters during the voting period and Academy members were too embarrassed to mark his name on the ballot.
Norbit is a loathsome, repugnant pile of misogyny and xenophobia and fat-shaming, but you can’t say Eddie Murphy doesn’t give it his all; Jupiter is a better movie, but Redmayne contributes a terrible, half-assed, laughable performance to it.
Far from the actress’s “Norbit” (which many blame for derailing Eddie Murphy’s “Dreamgirls” Oscar hopes), the film offers a rare showcase for her comic gifts, molding Emma out of slapstick comedy, fast-paced dialogue and an undercurrent of sincere vulnerability.
There’s been chatter that No Strings Attached might be Portman’s Norbit, a reference to the fact that Eddie Murphy’s critically reviled comedy opened when he was the Oscar frontrunner for his supporting turn in Dreamgirls (Little Miss Sunshine’s Alan Arkin ended up taking home the award).
Stripped of the surrounding darkness of that magnitude, McAvoy’s emoting this time around feels more hammy, more akin to watching Eddie Murphy don the disguises in such low-rent efforts as Norbit and Nutty Professor II: The Klumps .
The name, of course, references that time when Eddie Murphy was primed to win the Best Supporting Actor Oscar for 2006's Dreamgirls but instead came up empty-handed, with one theory being that his critically reviled comedy Norbit was in theaters during the voting period and Academy members were too embarrassed to mark his name on the ballot.
(Now we're in Spike Lee, "Do the Right Thing" territory?)
My sole cultural reference point for race car driving is Talladega Nights, which I mistakenly rented my freshman year of college in lieu of Varsity Blues.
Along with distractingly jiggly cheek prosthetics, Chastain appears to be starring in a sequel to the Eddie Murphy comedy "Norbit."
It began as a refreshing novelty in The Nutty Professor, carried over to The Nutty Professor II: The Klumps and later provided enough tacked-on mileage to launch Martin Lawrence and Tyler Perry's celebrity into the mainstream of popularity with Big Momma's House and Diary of a Mad Blackwoman , respectively.
Maybe we should consider, instead, why films like "Norbit" -- Martin Lawrence's "Big Momma's House" farces and Murphy's "Coming to America" and "The Nutty Professor" come to mind -- are so perennially popular.
The film, derivative (see “The Shaggy Dog” of 2006) and devoid of wit, is about that tiredest of kid-movie clichés, the parent who is too busy for his children and must be taught a lesson.
Eddie Griffin is a cliche pimp, working at about one-tenth the comic level of his “DysFunktional Family.”
…it’s tempting to place Buckley’s strategically unhinged performance in the tradition of Eddie Murphy’s much-maligned turn in Norbit…
It’s so strikingly, soul-crushingly awful that it could cost Hugh Jackman as Oscar (we’ve seen it happen to Eddie Murphy with “Norbit”) and gifted actors like Winslet and Gere might not be allowed near anything remotely comedic ever again.
It's Not Jessica Chastain's Norbit One of the Hollywood's enduring urban legends is that Eddie Murphy's dual role as henpecked husband and plus-sized monster wife in the alleged comedy Norbit -- which opened three weeks before the Academy Awards -- cost him his Best Supporting Actor Oscar for Dreamgirls.
If a scene featuring a cross-dressing Zac Efron in an industrial kitchen gives you flashbacks to Good Burger, it’s not a great sign.
As Mr. Wong he channels Mickey Rooney's sham-Chinese landlord from Breakfast at Tiffany's, swapping his L's for R's ("I don't rike brack!
Mega superstar Justin Timberlake - headlining his first feature in quite some time - feels right at home and though Cherly Guerriero’s screenplay radiates with a “Varsity Blues” meets “Gifted” attitude, there’s plenty to embrace including an important take on toxic masculinity.
If A Thousand Words’ formula seems familiar, that’s because writer Steve Koren has tripped down this quasi-metaphysical path before in Bruce Almighty and Click.
He’d better make his peace with his lifestyle, his unhappy wife, his mom who has Alzheimer’s, played by Ruby Dee in a performance so real and heartfelt that she shakes the whole movie up around her. Screenwriter Steve Koren gave us “Bruce Almighty” and “Evan Almighty,” so he’s going to get the mystical/spiritual side of the movie right.
With a ridiculous plot that will make you long for the subtlety of “Liar, Liar” and “Bruce Almighty,” “A Thousand Words” tells the story of literary agent Jack McCall (Eddie Murphy), another fast-talking Hollywood creation.
The premise, similar to such Jim Carrey comedies as Liar Liar and Bruce Almighty (screenwriter Steve Koren also wrote Bruce Almighty), attempts to show the clown with a sensitive side.
Screenwriter Steve Koren gave us “Bruce Almighty” and “Evan Almighty,” so he’s going to get the mystical/spiritual side of the movie right.
The film, which is directed by Norbit's Brian Robbins and written by Bruce Almighty's Steve Koren, is being slung at audiences as a broad family laffer of the Jim Carrey school, but spends just as much time trying to be a serious tale about letting go of childhood resentments and accepting mortality.
If you were annoyed by Eddie Murphy’s prosthetic-laden racial stereotypes in films like “The Nutty Professor” and “Norbit,” I can’t imagine why you’d give this nonsense a pass.
Insert The Graduate clichés here.