Dolemite Is My Name – Eddie Murphy is Back!

With the Coronavirus still wreaking havoc around the globe (deal with you flat-Earthers), this mandatory quarantine has allowed me to catch up on movies which I was hoping to watch sooner. One I finally caught up with is “Dolemite is My Name,” the biographical comedy film about comedian and filmmaker Rudy Ray Moore who created the character of Dolemite, released several successful comedy albums, and then risked everything to bring his iconic character to the silver screen. What unfolds proved to be one of the best and most entertaining movies of 2020. Eddie Murphy gives us one of his greatest performances ever, Craig Brewer returns to make a film as entertaining as his best efforts, and screenwriters Scott Alexander and Larry Karaszewski have given us yet another offbeat biopic about an unlikely character who more than left their mark on the world.

When we first meet Rudy, he is a struggling artist living in 1970’s Los Angeles. We see from the start he is a natural born hustler, and his determination to become a star knows no bounds. At the same time, his life has long since fallen into a rut as he finds himself working at a record store whose manager, Roj (Snoop Dogg), refuses to play Rudy’s songs which comes with names like “Step it Up and Go” and “Below the Belt.” Despite Rudy’s eagerness, Roj freely admits none of his songs could ever compare to Marvin Gaye’s “Let’s Get it On.”

Furthermore, Rudy is past his prime, and he is starting to believe his dream of stardom has long since gone out of his reach. His stand-up bits at a local club fail to elicit a single laugh as his jokes are exquisitely lame to put it mildly. In addition, he has become quite, as someone later describes him, “portly.” Yes, even back in the 70’s, Hollywood seemed to have a problem with overweight people.

Then one day, Rudy gets accosted by a homeless man named Ricco (Ron Cephas Jones) who comes into the store making various loud proclamations which show off his superb rhyming skills, and one of them includes the name “Dolemite.” This ends up lighting a fire of inspiration in Rudy as he goes out into the streets to meet up with Ricco and his brethren to record their dialogue which prove to be poetic as it is profane. To be sure, Rudy pays these men to him their stories, but while some may be all about the Benjamins, he is more about the Washingtons.

From there, the character of “Dolemite” is born and Rudy dresses himself up for the occasion. It is an electrifying moment when we first see him take the stage even after the club owner begs him to just stick with his normal act. While he was at first ignored as an opening act, he now has the audience in stitches when he tells them, “Dolemite is my name, and fuckin’ up motherfuckers is my game!” From there, he finds the loving audience which had long eluded him, and he becomes increasingly intent on leaving his mark on the world.

Eddie Murphy certainly had a much different path to fame than Rudy Ray Moore ever did. He got cast on “Saturday Night Live” when he was 19, and film stardom came soon after when he starred in “48 Hrs.” Rudy, on the other hand, found success later in life and with a niche audience which was nowhere as big as Murphy’s. But watching Murphy here, I can see why he is a perfect fit to play Rudy as he inhabits this raunchy comedian and hustler with such an unbridled enthusiasm to where his spirit is so infectious throughout. Seeing Murphy land so many of Dolemite’s one-liners perfectly reminds us how brilliant his comedic timing is, and it is shocking to learn this is his first R-rated feature since 1999’s “Life.”

But moreover, Murphy really gives a great performance here which, in another year, might have earned him a deserved Oscar nomination. He really makes us root for Rudy even as his confidence begins to wane, and he also shows the insecurities and the past Rudy is constantly trying to stay several steps ahead of. There is one scene where we see Rudy on the phone with a prospective movie studio, and we do not even have to hear who is on the other line as Murphy shows us what rejection looks like as his face crumbles. Seriously, if this moment does not prove what a great actor can be, what will?

For Craig Brewer, “Dolemite is My Name” is his first feature film directorial effort since his 2011 remake of “Footloose.” To say this is a comeback for him is not really fair as he has spent the last few years producing several movies and directed TV episodes, so clearly he has been a busy body. However, watching this movie proves he has not missed a step as it contains the same boundless energy and enthusiasm he brought to “Hustle and Flow” and “Black Snake Moan.” Brewer clearly revels in the journey Rudy took from being a starving artist to becoming a known personality, and he makes this journey a thrilling and endlessly entertaining one for the audience.

For Scott Alexander and Larry Karaszewski, this stands proudly among their others which include “The People vs. Larry Flynt,” “Ed Wood,” “Big Eyes” and “Man on the Moon.” In some respects, Rudy’s career trajectory is a bit similar to Ed Wood’s as their talent, to put it mildly, can only go so far. But the screenwriters do make Rudy out to be an admirable go-getter who may not have gotten love from everybody, but who did get exactly what he needed. And in the end, Rudy certainly earned more success in his career than Ed ever did.

There are a couple more people I would like to single out including the mighty Da’Vine Joy Randolph who steals a number of scenes as Lady Reed, a single mother whom Rudy encourages to join him on his stand-up tour while in Mississippi. Randolph makes Lady Reed into a vulnerable individual who ends up finding the strength to make herself known to people who otherwise would might otherwise have paid her any notice. The scene she has with Murphy where Lady Reed thanks Rudy for paving the way to Hollywood for her is one of the most deeply felt as it rings so true emotionally, and there is not an ounce of sentimentality or emotional manipulation to be found.

And there is Wesley Snipes who comes close at times to stealing the show as the director of the “Dolemite” movie, D’Urville Martin. Watching Snipes here, it feels like the first time he has been this wildly energetic since “Major League.” After the cinematic debacle that was “Blade: Trinity” and his conviction for tax evasion, he seemed forever resigned to a career in direct-to-video movies where he played only deadly serious characters. But here, he gives one of his best performances in lord only knows how long as he turns D’Urville into a hilariously bewildered human being who keeps wondering how the hell he got mixed up with Rudy and his crew. It’s such a brilliantly off-the-wall performance, and just looking at his face during one of the most hilariously staged sex scenes in motion picture history is priceless.

Seriously, I get severe whiplash looking at Eddie Murphy’s career, and that’s even though its not as intense and jolting as what I get when looking at John Travolta’s. Murphy has been up and down so many times to where it hurt to wait and see him be great again. Heck, I almost gave up on him after “Beverly Hills Cop III.” But with “Dolemite is My Name” and his triumphant return to “Saturday Night Live,” he has more than earned his latest comeback, and I really hope this is one which will last for several more movies.

* * * * out of * * * *

David Gordon Green’s ‘Halloween’ is the Sequel We Have Been Waiting For

Halloween 2018 theatrical poster

Why do filmmakers constantly insist on doing a retcon of the “Halloween” franchise? Every once in a while, the continuity of the series is tossed to the wayside, usually for profit and greed, but perhaps deep down there are those out there who remain infinitely eager for another and more fulfilling showdown between Laurie Strode and Michael Myers. We thought we got it in 1981’s “Halloween II,” but even Michael couldn’t stay down after being burned beyond recognition. Then there was “Halloween H2O: 20 Years Later,” but that was really a “Scream” movie disguised as a “Halloween” movie, and what resulted did not feel particularly compelling.

But just when you thought it was time to lay this long-running franchise to rest, along comes the simply titled “Halloween” which wipes the slate clean to give us the true sequel fans of the series have been waiting 40 years for. Once again, Michael Myers breaks free and heads back to Haddonfield, Illinois for a bloody homecoming. But this time, Laurie Strode is ready and waiting, and she is not about to take any prisoners. As this “Halloween” unfolds, you will see what Sylvester Stallone meant when he said, while in pursuit of Wesley Snipes in “Demotion Man:”

“Send a maniac to catch a maniac.”

In this alternate timeline, Michael did not escape at the end of John Carpenter’s “Halloween,” but was instead captured and sent back to Smith’s Grove Sanitarium and has remained there for the last 40 years. His latest psychiatrist, Dr. Ranbir Sartain (Haluk Bilginer), insists Michael can talk but chooses not to, but this doesn’t stop a pair of true-crime podcasters, Aaron Korey (Jefferson Hall) and Dana Haines (Rhian Rees), from trying to make him say something, anything. But once Aaron pulls Michael’s old mask out of his bag, we know it won’t be long before they are reminded of what curiosity did to the cat.

This particular “Halloween” was directed by David Gordon Green and co-written by him, Jeff Fradley and actor Danny McBride, and the respect they have for Carpenter’s 1978 horror classic is on display throughout. They even bring back the serif font from the original’s credits as they are determined to make us accept this is a direct sequel to the one which started it all. I admired how the credits started off with a pumpkin which looks to have been stomped on one too many times and which reforms slowly but surely. It’s almost like a metaphor for this franchise as many continue to resurrect Michael, or “The Shape” as he is often referred to, with varying results.

Green is one of those filmmakers who can go from making independent films like “All the Real Girls” and “Joe” to more mainstream fare such as “Pineapple Express” and “Stronger” with relative ease. With his “Halloween,” he gives a slow-burn thriller which thankfully doesn’t peak too soon. Many horror movies give us their best moments far too early these days, so it’s nice to see Green not making this same mistake here as he gives us a deeply suspenseful thriller which builds up and up to its much-anticipated climax.

I also have to give Green and his collaborators credit for giving us characters we care about. It is impossible not to relate to them in one way or another as we remember having their same needs and desires when we were their age. Many of the “Friday the 13th” sequels kept giving us characters we couldn’t wait to see get killed off as we were made to hate them, but when the residents of Haddonfield are killed off, you cannot help but feel for them, and not just because they never got the chance to lose their virginity.

The real big news, however, about this “Halloween” is John Carpenter is back. It marks his return to the franchise he created for the first time since “Halloween III: Season of the Witch.” I imagine money was a big motivating factor, but I do believe Carpenter when he said how enthusiastic he was about Green and McBride’s pitch for this movie. In addition to acting as executive producer, Carpenter also scored the movie along with his son Cody Carpenter and Daniel Davies, and they give the brutal proceedings here an extra hard kick in the ass (click here to check out my review of the soundtrack).

But let’s face facts, the real star of this “Halloween” movie is Laurie Strode. Jamie Lee Curtis returns to her iconic role with a real vengeance, and she plays Laurie to the hilt in this installment. When Curtis first played Laurie, she was a kind, shy and innocent young woman. 40 years later, Laurie is a shell of her former self as her life has been severely undone by PTSD, alcoholism and agoraphobia. She has spent the past few decades training to be a survivalist as her life is now dedicated to removing Michael from the face of the earth, and it has all come at the expense of caring for her own family.

Curtis has always put in a great performance in each movie she appears in, be it a good or a bad one, but she really hits it out of the park here. She succeeds in turning Laurie Strode into a bad ass warrior who is never determined to suffer in the same way she did before, and at times she threatens to be more frightening than Michael herself. Just check out the scene when Laurie breaks into her daughter Karen’s (Judy Greer) house and reminds her bluntly of how unprepared she is for the oncoming slaughter.

Moreover, Curtis really makes us sympathize with Laurie Strode throughout. We know all what she has been through, and to see the effect it has on those closest to her is heartbreaking. We learn she has been divorced twice, and her daughter Karen wants little to do with her and constantly begs her to get help. Even when Laurie absent-mindedly takes a drink from a glass of wine like as it it were was an automatic impulse, we feel for her as no one can see Michael Myers as being the embodiment of pure evil the way she can.

Watching Curtis as Laurie here quickly reminded me of a line the late Natasha Richardson said in “Patty Hearst:”

“I finally realized what my crime was, I lived. Big mistake. Very messy.”

The cast overall does really good work, and they are made of very likable and dependable actors which include Judy Greer and Will Patton who make their characters seem very down to earth in a way you want them to be. One real standout here is Andi Matichak who plays Allyson, Laurie’s granddaughter and the only one capable of having a meaningful relationship with her. Matichak proves to be a very appealing presence here, and she makes Allyson into a strong and defiant young woman who is not about to suffer fools in the slightest.

As “Halloween” builds up to its inevitable climax, Green keeps increasing the tension throughout. He smartly leaves Michael in the shadows, and you can’t help but wondering when he is going to jump out next. Green also leaves you wondering if we might actually see Michael’s face or even hear him speak. Does he? Wouldn’t you like to know?

This “Halloween” is not at all groundbreaking, but then again neither was Carpenter’s film. The 1978 “Halloween” owed a lot to the works of Alfred Hitchcock among others, but it also managed to give a freshness to the horror genre in the same way “Psycho” did years before. With any “Halloween” follow-up, we can only hope for it to be as good, if not better, than the original. There’s no way you can top what Carpenter pulled off 40 years ago as none of us saw Michael Myers coming. But with this “Halloween,” we get the true sequel the original never quite received, and it proves to be well worth the wait.

There is also something very cathartic about watching this one in the midst of the #MeToo movement. Essentially, we are watching a woman take revenge on a man who thoughtlessly ruined her life years before, and seeing her do battle with him makes this “Halloween” especially thrilling. Lord knows women have been forced to be silent for far too long, so seeing one get her revenge feels much, much overdue.

By the way, I think I’m going to start calling this one “Halloween: 40 is the New 20.” It seems appropriate, don’t you think?

* * * ½ out of * * * *

WRITER’S NOTE: A lot of people have been getting mad at Jamie Lee Curtis recently. We see her wielding many different weapons and firearms in this movie as Laurie Strode, but some have been quick to call her a hypocrite for doing so as her stance on gun control and the need for it has been well-documented. Why is she appearing in this movie armed to the hilt and yet complaining about gun violence in real life? Ladies and gentlemen, what Curtis is doing in this movie is called ACTING. SHE IS PLAYING A CHARACTER. Whatever happened to make believe anyway? Not all actors are out to put their political issues into each movie they do. Do yourself and everyone else a favor and stop blurring the line between fiction and non-fiction. That is all.