Around 1940, New Yorker staff writer Joe Mitchell meets Joe Gould, a Greenwich Village character who cadges meals, drinks, and contributions to the Joe Gould Fund and who is writing a ... See full summary »
Peter Sanderson is a divorced, straight-laced, uptight attorney who still loves his ex-wife and can't figure out what he did wrong to make her leave him. However, Peter's trying to move on, and he's smitten with a brainy, bombshell barrister he's been chatting with online. However, when she comes to his house for their first face-to-face, she isn't refined, isn't Ivy League, and isn't even a lawyer. Instead, it's Charlene, a prison escapee who's proclaiming her innocence and wants Peter to help her clear her name. But Peter wants nothing to do with her, prompting the loud and shocking Charlene to turn Peter's perfectly ordered life upside down, jeopardizing his effort to get back with his wife and woo a billion dollar client. Written by
Sujit R. Varma
When Peter takes Mrs. Arness, her dog William, and golf caddy out for a game of golf, there seems to be an extra player in their foursome. In the golf cart, sitting just behind the four, is a woman wearing a hat, taking off her socks. The woman is dressed exactly like Mrs. Arness. The woman then disappears entirely after Mrs. Arness takes a swing (she is Mrs. Arness' stunt double). See more »
You lock me out, no money, no place to go, a sister got to get her cheese on.
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OK, so the white-yuppie-and-black-ghetto-person-joining-up idea has been used a number of times in movies, but the dialog between Steve Martin and Queen Latifah makes this one worthwhile. Probably the best scenes are Betty White's nasty comments, Queen Latifah teaching Missi Pyle a lesson, Steve Martin dressed - and attempting to talk - like a rapper (especially because of what Joan Plowright ends up doing in that scene), and of course, Eugene Levy's statements ending with "Boo". "Bringing Down the House" really does bring down the house. Completely silly, but fun nevertheless.
Who ever would have imagined Joan Plowright (aka Laurence Olivier's widow) doing what she did and saying what she said in the rapper scene?
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