Nick Beam's life couldn't get any worse. He discovers he has been living a lie and is on the verge of a nervous breakdown. So when T. Paul, a carjacker, attempts to rob him, it is the last ... See full summary »
John C. McGinley
Roper, a hostage negotiator catches a murderous bank robber after a blown heist. The bank robber escapes and immediately goes after the man who put him behind bars. The ending is played out... See full summary »
A Florida con man uses the passing of the long time Congressman from his district who he just happens to share a name with, to get elected to his version of paradise, Congress, where the ... See full summary »
In the mid-1990s, two inmates bury the burned bodies of two lifers at Mississippi's infamous Parchman Farm; a third old-timer relates their story. They'd served 65 years for a murder they didn't commit, framed by a local sheriff while buying moonshine whiskey for a Manhattan club owner to whom they owed money. In flashbacks we see this odd couple thrown together (Ray is a fast-talking con man, and Claude is a serious man about to start work as a bank teller), the loss of Ray's watch (sterling silver, from his daddy), the murder and trial, the hardships of Parchman, and the love-hate relationship of Claude and Ray as they spend 65 years bickering and looking for a way to escape. Written by
According to the DVD commentary: During the diner scene, originally it was Eddie Murphy's character that was supposed to be angry about the "White Only" pies, while Martin Lawrence's character just wanted to leave. During filming, the scene wasn't working, so they came up with the idea of having them switch their lines. The scene played much better and that's how it appears in the finished film. See more »
In the scene where Jangle Leg introduces himself to Claude, they are seated beside each other with Ray sitting beside Jangle Leg. Then the camera switches to a shot of Ray. If you look below Ray you can see Jangle Leg seated below him. See more »
Welcome to Mississippi. Here you will be provided with ample opportunity to repay your debt to society through the rigours of hard labour. We got fields need clearin', roads need buildin', and ditches need diggin'. You will eat only what you can grow. Your crop don't come in, you go hungry. This here is Camp 8; Camp 8 is for incorrigibles. So whatever you done to get here, believe me, I'm not impressed; I've seen it all before. We ain't go no fences here at Camp 8, we don't need no fences. We ...
[...] See more »
Bloopers are shown during the closing credits. See more »
I cannot even begin to count how many `comedies' I have sat through that try to reach for the `timeless' formula by interjecting some lame dramatics to engage the audience even more than the comedy ever could. It's a practice as old as time in Hollywood. Most of these movies fail miserably.
You leave the theater thinking `It was funny enough, why couldn't it just stay silly?' My friends, I'm with you on every page. It's a slippery slope to juggle the two genres.
`Life' is the millionth attempt at warm-hearted comedy. It tries to make you pee your pants with its jokes, and yet slap your emotions around with the drama. And damn the odds, it fits like a glove. `Life' is also a film that defies much criticism. You either love stars Eddie Murphy and Martin Lawrence, or you don't. I'm in the first category. As the main characters, the two comedians prove just how valuable they are. Murphy is coming off a uniquely horrific year. `Dr. Dolittle' was a smash, but a career setback to say the least. `Holy Man' was an unmitigated disaster, but one that didn't effect Murphy with any real damage. The greatest gift `Life' gives to Murphy is a chance to show off range. Murphy is a very talented actor, and this movie makes you wish he would try a straight drama for once. Murphy can be devastatingly funny. But he can also be very dramatically convincing. With each new movie, Murphy grows as an actor. I really think he's set for brighter things. Martin Lawrence shares many of the same attributes as Murphy. He's terribly funny, and yet able to win your heart with a depth most comedians don't have. `Life' has Lawrence with the quieter role. He uses that chance to provide the film with a backbone. He eventually comes out the best rounded character in the fractured storytelling. It's a good performance, but even better, it's a brilliant pairing with Eddie Murphy. The two are seamlessly funny. Squeezing every moment for comic and emotional juice. It's refreshing to watch a movie with two actors who seem to be trying something different, all the while living up to previous expectations. Ted Demme is a solid director, a thought that immediately puts me in the minority. His `Who's The Man?' was a strictly silly romp, but was actually funny. `The Ref' was the critically lauded and sharp black comedy. `Beautiful Girls' is a film that every time I sit down to watch, feels as comfortable as an old cardigan. He's yet to falter in my eyes. I like his attention to detail, and his gift for trusting his actors. `Life' wouldn't work as well as it does without a specific amount of direction and free will. Demme manages to keep the film on track without ever succumbing to an over-reliance on improv. The best scenes in `Life' are the quiet ones: the gay inmate who's release from prison provides a dilemma, the passage of time montage, and Lawrence's moment with the freshly baked pies(which is actually comical, but who's counting?). The film seems like it was longer at one point, but the film on display here really pleased me. I would recommend this film to anybody that has lost faith in Eddie Murphy.------------- 9
26 of 35 people found this review helpful.
Was this review helpful to you?