"Don't Be a Menace to South Central While Drinking your Juice in the Hood" is a parody of several U.S. films about being in the 'Hood', for instance "Boyz n the Hood", "South Central", "...
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Eddie Griffin is Miles Waise, a fast rising nightclub comedian. His life is made difficult by his manager, who wants him to sell out for big bucks, and his brother Fifty Dollah, a scheming ... See full summary »
In this movie based on the early days of Def Jam Recordings, up-and-coming manager Russell Walker manages all the hottest acts on the record label Krush Groove Records, which include ... See full summary »
Craig and Day Day have finally moved out of their parents houses and into their own crib. The cousins work nights at a local mall as security guards. When their house is robbed on Christmas... See full summary »
Terry is an up and coming comedian, but believes politics will get him the big breaks and more time at the popular Dukie's Comedy Club. Just so happens that Terry is 'sleeping' with Ruby ... See full summary »
"Don't Be a Menace to South Central While Drinking your Juice in the Hood" is a parody of several U.S. films about being in the 'Hood', for instance "Boyz n the Hood", "South Central", "Menace II Society", "Higher Learning" and "Juice". We follow Ashtray as he returns to the place he grew up in and meet his father and his basket-case friends. Crazy stuff happens. For example, Ashtray is older than his father and his best friend Loc Dog's grandmother is a trigger-happy old lady who blames her eccentric-looking kid for not being tough enough. Written by
Rune Dahl Fitjar <email@example.com>
A trailer for the film included the tagline, "It's the only movie released this year with fourteen words in its title" See more »
When Ash tray 1st arrives at his father's, he States that his father is just a few years older than he is. When his father ask him why he wasn't invited to the party Ash tray told him he had to be over 18 to attend. If that's the case Ash tray wouldn't be able to attend the party. See more »
Loc Dog was America's worst nightmare, raised in a house with three generations of hopelessness, poverty... and profanity.
Loc Dog's Mom:
Loc Dogg, turn that loud ass mothafuckin music down, you wakin up the fuckin babies, mothafucka. This still my mothafuckin house, mothafucka...
Loc Dog's Mom:
Who tha fuck is that on my porch?
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Robert Schimmel is listed in the opening credits, yet he does not appear anywhere in the film, and is missing from the end credits. See more »
Written by E. Humphrey, Shock-G (as G. Jacobs), T. Jones
Zomba Songs Inc./Pubhowyalike (administered by Zomba Songs Inc.) (BMI)/T. Jones
Performed by Digital Underground (as digital underground)
Produced by DA' D-Flow Pro-Diduction Squid-OD
(P) 1996 Island Records, Inc., a PolyGram Company See more »
I was watching an old "Honeymooners" rerun with a friend and we came to Jackie Gleason's Ralph's inevitable "To the moon, Alice!" expression of frustration with his wife, and suddenly I realized that it WAS inevitable, so why were we laughing, having heard it a dozen times before? My friend pointed out that Gleason's timing - the manner in which he held his slow-burn, the widening of his eyes, the sudden "Bang! Zoom" take off into the line - was what always made it funny. We weren't laughing at the line so much at the performance of it.
"Don't Be A Menace" is the most obvious collection of predictable gags and bits I have seen in a long time, but it is by far the funniest. The Wayans are rather stuck - the genres they parody here have very rigid conventions, so much so that there is usually only one or two gags one can use to mock them - e.g., when a young gangsta warns us that many young men in the 'hood don't live to see their 21st birthday, we all know what's coming next. So the Wayans handle it in a manner that delays the punchline while emphasizing its obviousness. Thus we laugh with them, appreciating the way they pull it off, and recognizing the gangsta genre limit that's getting parodied, rather than at the bit itself.
Just about the whole movie operates on this level, and for this reason has become one of my favorite comedies. The Wayans capture every moment with a dead-on rhythm that blends the gags into a kind of music. Shawn plays the steady bass while Marlon does some wild riffing. Other characters and bits drop in and out like improvisation and sound effects. Keenan Wayans drops in every now and then like the voice on a scratch dub. The tempo could have been a little swifter, but the rhythm itself is excellent.
Comedy like this is very tricky, and I personally didn't think the Wayans' efforts in the "Scary Movie" films were quite as successful - but here they move it right along.
It's rude, it's crude, it's in-yor-face - and it's just a delight to watch.
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