First things first, as I illuminated in an article earlier this week, I really do believe the first film to be an absolute pitch perfect comedic masterpiece that hasn’t’ aged a day in the 33 years since its original release. I bring this up solely because it highlights that I am indeed a fan, and for better or for worse, this really is a film for the fans. For instance it’s clear to me that I really don’t think this was an attempt at a cash-grab of any kind. This was clearly a project that the people involved wanted to make and wanted to make the best they could out of it. And by all accounts although a fan can dream, I really do believe that we have received the best that we could get out of it. A pleasant and easily very watchable sequel that delivers a healthy dose of nostalgia, fun and indeed comedy.
The film’s overall plot is pretty paint by the numbers with a reversal of the original formula with the Bronx now coming to Zamunda, rather than the other way around, however the plot may actually be the worst aspect of the film. For immediately the film writes itself into a hole that doesn’t make any sense in the logic of the first film, with the replaying of scenes and the use of some pretty great CGI actually to recreate moments from the first film with the addition of plot elements and characters that we know could never happen in the timeline of the first film. You do get over it eventually but it is an odd sticking point for fans of the original. Many of the core elements of the script team are back with David Sheffield and Barry Blaustein this time also being joined by Kenya Barris to deliver another script that serves both as a character journey story, with many hilarious absurdist characters interspersed. Let’s continue on this theme with what has remained the same this time around. Murphy and Hall are back, along with many others from the original film, as our two central leads of Prince Akeem and his trusty confidante Semmi. The original America was an intriguing departure for Murphy due to the fact that beyond his many other characters within the film, he was more or less playing it straight and maximising on his romantic leading man sensibility that hadn’t been properly tapped. Here in this film he is still tapping a similarly straight laced vein, but with the love and care of a father. Murphy’s pretty great actually, to no surprise, for when Murphy is invested in a project, as he clearly is here, then all the talent that was present from day one suddenly re-appears. Hall is given less to do this time around, but maximises on the rigidness of Semmi to make him a bit more of a foil this time around. Their chemistry is naturally still brilliant. However the greatest chemistry of the first film was of course with Shari Headley, who returns as Queen Lisa. John Amos and James Earl Jones, the two strongholds of the first film also come back and more son in the case of Amos, a strong and undeniable, and deeply effecting presence talent is brought once more to the screen.
For as much as this film does revel in nostalgia it actually does have lost of new offerings for us, most of which are successful. The film this time around is directed not by John Landis, but rather Craig Brewer, after the very successful pairing he had with Murphy with Dolomite is My Name. The direction is present and visually interesting, which reflects more so about the state of comedy movies nowadays than the actual film-making that that feels like something to comment on. Brewer tells a tight story and keeps a nice focus on pace and plotting, aswell as spending time with each character, new and old. However there is a repeated and odd reliance throughout the film of reincorporating, through flashback, montage and the like, certain sections of footage from the original film - ultimately I just found it all very unnecessary and nostalgic in the worst way possible. All of the new character we meet and actors immediately fit into the fold of this world very well with the main trio of Tracey Morgan, Leslie Jones and Jermaine Fowler all being intriguing and interesting, and most importantly funny, additions to the world of Zamunda. However without a doubt, was actually the case with Dolomite; Wesley Snipes is the undoubted standout when it comes to new entries. His Izzi is hilarious and actually I would have very much liked a lot more of him. However overall the film can’t help but feel like a bit of the magic has been lost. This may very well be the case of a film thwarting its own effect by simply being a sequel to a far superior film, an unfair and common procedure that although unfair, is ultimately very fitting here.
An extremely nostalgic and mostly fun 6/10 romp, that for better and for worse does rely a lot on its far superior previous effort, but does frequently offer new and original bursts of creativity into the world of Zamunda. Murphy leads a very well talented ensemble cast through a very predictable, but again enjoyable script that does still feel like it’s going through the motions. However those motions are still pretty funny and it’s a lot of fun to be back with a lot of these characters, even if there’s not a chance in hell anybody could make the argument that it’s on par with its previous feature. A fine effort with a few good laughs and a great feel about it, certainly worth a watch – a very watchable and pleasant 1hr 50 mins.
P.S. I’m not saying that forced profanity is at all nesscerary, however the precision of vulgarity in the first film was never gratuitous and always was comedic effect. So the 12/PG-13 rating of this film does make everything feel a lot more clinical in its nature, which for some films isn’t really a bad thing. However the chief use of the vulgarity in the first film was to indeed further the fish out of water of the whole plot. Here it just feels a lot more family based, and unfortunately a lot less funny due to it. Maybe this wouldn’t be such an issue if it didn’t feel so glaringly obvious where swearing would occur if they just went for an R-rating instead. It’s all streaming nowadays anyway, so it’s not like they’d lose any ticket sales.
- Thomas Carruthers
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