IMDb > Please Hammer, Don't Hurt 'Em: The Movie (1990) (V)

Please Hammer, Don't Hurt 'Em: The Movie (1990) (V) More at IMDbPro »


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MC Hammer returns to his hometown and, with the help of some funky tunes, defeats a druglord who is using kids to traffic his stuff. | Add synopsis »
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Too Legit to Quit! See more (3 total) »



Michele L. Jennings ... Dancer

M.C. Hammer ... Himself / Reverend Pressure
Markus Maguire ... Reporter
T. Mark De Vine ... Church-goer (uncredited)

Directed by
Rupert Wainwright 
Writing credits
(in alphabetical order)
Robert Andrus 

Produced by
John Oetjen .... producer
Mark Yellen .... line producer
Original Music by
M.C. Hammer 
Cinematography by
Bill Zarchy (director of photography)
Film Editing by
Jerry Behrens 
Production Design by
Dean Backer 
Second Unit Director or Assistant Director
Michelangelo Csaba Bolla .... first assistant director
Sound Department
Gary Dowling .... boom operator
Marti D. Humphrey .... re-recording mixer
Peter V. Meiselmann .... playback operator
Philip Perkins .... sound mixer
Other crew
Brian Rogers .... Special Logistics
Mitchell Nyberg .... production assistant (uncredited)

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4 out of 5 people found the following review useful.
Too Legit to Quit!, 19 October 2005
Author: cindi0724 from United States

This movie is clearly about the epic, nay, cosmic struggle of good and evil, that films like "Full Metal Jacket" or "Apocalypse Now" can't even begin to address. Even though Hammer is a rapper, and generally that would be a bad thing, this film depicts him as the sword of justice fighting the evil drug dealers of Oakland with his "posse". Hammer plays dual roles in this film: one as himself (i.e. MC Hammer) and another as the Reverend Pressure who is known for his jaw dropping performances. This leitmotif is similar to the star turns of Eddie Murphy and Arsenio Hall in films like "Coming to America" where they play multiple characters – except that Hammer is clearly better. This film also has a really important message: say yes to Jesus and Hammer, no to drugs and violence. I cannot imagine a film that does a better job of capturing the essence of the nineties, except perhaps "Cool as Ice". Sadly, however, this film was overlooked by the Academy.

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