Dr. RJ Stevens is a talk show host who visits his family in the deep south. While there he reunites with his brother Otis, his sister Betty, his cousin/rival Clyde and his childhood love intrest Lucinda Allen.
Malcolm D. Lee
James Earl Jones
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
Undercover Agent Malcolm Turner is back and this time he's out to expose the suspected designer of a deadly computer "worm" that would allow outside forces access to sophistical and critical government intelligence files. But unfortunately, the only way the crafty agent can get next to the worm's creator, Tom Fuller, is to access the programmer's Orange County home as the new "nanny" to Fuller and his wife Leah's children: toddler Andrew and his two older sisters, Carrie and Molly. This means that Malcolm must once again rely on his sure-fire alter ego, the take-no-prisoners Hattie Mae Pierce, a.k.a. "Big Momma," to bring down the bad guys and prove that a woman's work is never done! But once undercover, the job proves another tough juggling act for Big Momma as "she" must manage the hectic lives of the three Fuller kids, keep up with their myriad of daily activities, and handle the many household chores, all while secretly trying to dig up information on Tom's computer virus. Of ... Written by
Anthony Pereyra <email@example.com>
Throughout the movie, Malcolm uses 2 different methods to transform his body into Big Momma. One is through the use of a body suit (made of a stuffed cloth material, which is used when Big Momma is wearing a dress) and the other one is through the extensive use of prosthetic makeup (for when Big Momma is showing more skin, at the spa and at the beach). In the beach scene, Malcolm is clearly using the prosthetics when Big Momma is in a one piece bathing suit as much skin is exposed. Big Momma then puts on a big sun dress to cover up (while still wearing the bathing suit and prosthetics). Moments later, she starts chasing Bishop down the beach to the pier. After Bishop jumps off the pier and Malcolm (now with his mask off) looks over the pier, you can see under the big sun dress on his right shoulder that he is wearing the fat suit, not the prosthetics. There was no opportunity for him to have switched from one to the other. See more »
Uh, okay, this is, uh, Agent Kinnealy. Please advise, I just made BM in the back of a cab.
Uh, you did what in the back of the cab?
Big Momma! I just made Big... I saw Big Momma in the back of a cab, and now I'm going to get VD... Visual data. I'm going... Never mind.
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Some of the greatest movie comedies of all time have revolved around men dressing up in drag and trying to pass themselves off as women ("Some Like It Hot" and "Tootsie" being the prime examples). Ironically, that's also been the basis for some of the worst comedies ever made ("White Chicks" being the prime example I can think of at the moment). Somewhere in the middle lie the Big Momma movies, both the original, made in 2000,and the sequel from 2006, creatively entitled "Big Momma's House 2." Once again, Martin Lawrence stars as the FBI agent who this time goes undercover as a nanny to the children of a man who may be involved in some sort of major threat to national security (yawn!).
In turns of its storyline, the movie falls somewhere between "Mrs. Doubtfire" and "Mary Poppins," with Big Momma managing to heal the rift in the family and making the neglectful father a model parent by the end of the film. The crime scenario is beyond stupid and leads to a whole host of idiotic slapstick scenes involving Big Momma taking on the gun-wielding bad guys, but if you have a high level of tolerance for this sort of thing, "Big Momma's House 2" should provide you with a good share of laughs amid all the clunkers.
Lawrence exhibits a great deal of energy in the role of Big Momma, but he never brings the kind of insight and believability to the part that Jack Lemmon, Tony Curtis or Dustin Hoffman managed to do in their respective turns at cross dressing comedy. Unfortunately, Lawrence's portrayal is all surface imitation, utterly devoid of the kind of subtle shading that might suggest he had actually gotten in touch with his character. This film would be a trifle less innocuous if it hadn't been done so much better already.
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