Everett reveals every terrible habit, attitude, and hang-up on the first date. Shockingly, women don't react as he'd hoped...until he meets Brinn, who's willing to play his game and try for Full Disclosure.
A brooding self-styled swinger obsessed with things from the 1950's loses himself in booze and night clubbing amongst similar other men. Meanwhile he pines for the woman he really loves, ... See full summary »
Mordechai Jefferson Carver, aka the Hebrew Hammer, is an orthodox Jewish stud who goes on a mission to save Hanukkah. When Santa Claus's evil son Damian is pushed over the edge by his father's liberal policies, he does away with the Christian patriarch. Subsequently stepping into his father's role, Damian launches a campaign to eradicate the Jewish Holiday. The Hammer joins forces with Esther Bloomenbergensteinenthal, the gorgeous and dangerous daughter of the leader of the Jewish Justice League; and his brother-in-arms Mohammed Ali Paula Abdul Rahim, the head of the Kwanzaa Liberation Front, to topple Santa's evil progeny and to save Hanukkah for future generations of Jews. Written by
Sujit R. Varma
The original script called for a cameo from US Senator Joe Lieberman (I-Con), but Lieberman turned it down, so the role went to former New York City mayor Ed Koch, who was recruited at the last minute by one of the producers. See more »
When the Hammer is in his car, it has a normal Florida license plate. When there is close up, it shows that it is a New York license vanity plate that says "L'CHAIM". This is seen later in the movie when he talks to Shlomo and gives him a tape from the trunk. See more »
The concept is good, the performances are good, but this film is too uneven to be great. Writer/director Jonathan Kesselman should've watched the much better blaxploitation parody "I'm Gonna Git You Sucka!" a few times and thought harder about *why* it's a good parody. Even then, that film, too, could have been improved.
When you do satire, you get the best results when you stick pretty closely to your target. The funniest moments in "The Hebrew Hammer" are those in which it really mirrors blaxploitation films. When it degenerates into really broad parody, lame social commentary, and random jokes about Jewish stereotypes, it goes downhill quickly.
That's too bad, because the principle cast really does do an excellent job. The villains are weaker than the heroes -- conceptually and by performance -- but I can't really blame the actors (much as I might be tempted to blame Andy Dick) because the villains are *too* over-the-top just as they're written.
Satire works as comedy because it keeps moving back and forth over the line of plausibility -- or, at least, the line of genre convention. "The Hebrew Hammer" has many good moments but, in the end, it strays too far, too often. There's about thirty minutes of really good material in there.
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