The problem with Eddie Murphy? It's not a problem talent or fearlessness. He has plenty of both. But in "A Thousand Words," shot in 2008 and now available for the displeasure of view, it is first-rate talent stuck in yet another third-rate piece of bleccch and written by Steve Koren, who shoveled our Adam Sandler leavin ing "Click" and " Jack and Jill, "and directed by Murphy frequent partner Brian Robbins, who resume includes" Norbit "and" Meet Dave. "
This image is squarely in the quality department of the four gems, but the product placement ("This coffee is amazing," Murphy says in one place, holding up a cup that says Starbucks) is so galling to wait for the punch line. One thing that never comes.
In "A Thousand Words" camera, preferably about 2 inches from hyperactive facial Murphy, and you start to see the pressure and desperation in the eyes of the actor. Without saying a word, this reaction shot - the film is 100 minutes of reaction shots of himself - says: I'm in trouble here, I still remain a big bad wolf in comedy. I'll huff and puff and get a laugh. Somehow.
The nature of Murphy's change of tetchy monster (arrogant, egotistical, neutral family man) Sandler favors in his comedies. When high-powered literary agent Jack McCall (Murphy) aim to issue rights tied to the Deepak Chopra-like details of the policy expert Cliff Curtis), and possibly his bestseller, a specialist in Blather through the motor mouth is. This man, he reasons, the comeuppance. McCall gets it in the form suddenly sprang Bodhi tree sheds leaves every word McCall utters. When the leaves are gone, McCall will die. This is not to give the tree, it can take a tree.
In the vein of "Fringe" which got some ungodly life reiterate sad realization protagonist, this film features a series of McCall pursues younger self of his (see the golden fields of corn) and learns to forgive a father from him and to comfort Alzheimer's- punched his mother (Ruby Dee).
Concept image of a good marriage is simple: Just tell your wife (Kerry Washington, a delightful and given nothing to play) live in the cozy house she wants, not zillion-dollar Hilltop Hollywood bachelor pad you prefer.
This image is squarely in the quality department of the four gems, but the product placement ("This coffee is amazing," Murphy says in one place, holding up a cup that says Starbucks) is so galling to wait for the punch line. One thing that never comes.
In "A Thousand Words" camera, preferably about 2 inches from hyperactive facial Murphy, and you start to see the pressure and desperation in the eyes of the actor. Without saying a word, this reaction shot - the film is 100 minutes of reaction shots of himself - says: I'm in trouble here, I still remain a big bad wolf in comedy. I'll huff and puff and get a laugh. Somehow.
The nature of Murphy's change of tetchy monster (arrogant, egotistical, neutral family man) Sandler favors in his comedies. When high-powered literary agent Jack McCall (Murphy) aim to issue rights tied to the Deepak Chopra-like details of the policy expert Cliff Curtis), and possibly his bestseller, a specialist in Blather through the motor mouth is. This man, he reasons, the comeuppance. McCall gets it in the form suddenly sprang Bodhi tree sheds leaves every word McCall utters. When the leaves are gone, McCall will die. This is not to give the tree, it can take a tree.
In the vein of "Fringe" which got some ungodly life reiterate sad realization protagonist, this film features a series of McCall pursues younger self of his (see the golden fields of corn) and learns to forgive a father from him and to comfort Alzheimer's- punched his mother (Ruby Dee).
Concept image of a good marriage is simple: Just tell your wife (Kerry Washington, a delightful and given nothing to play) live in the cozy house she wants, not zillion-dollar Hilltop Hollywood bachelor pad you prefer.
