“Ricky Stanicky,” a new feel-good comedy from director Peter Farrelly, starring Zac Efron, Andrew Santino, John Cena and Jermaine Fowler, and now streaming on Amazon Prime, is light on laughs but heavy on heart.
Ever since they were kids, best friends Dean, JT, and Wes (Efron, Santino and Fowler) have used a fictional friend named Ricky Stanicky as a fall guy for their hijinks. Even though he doesn’t exist, he’s been their alibi forever. They’ve used him as an excuse to go on guy’s weekends to Atlantic City, or catch a concert, and then blame him for anything that went wrong. “The best friend we never had,” says Dean.
But when Dean ups the ante and announces to his wife that Ricky has cancer, and the guys need to see him, Wes thinks they may have taken the ruse a bit too far.
“Why does it have to be cancer?” he asks. “You want everyone to get worried?”
“Yeah,” Dean says. “And that’s going to take us right into the World Series.”
When the boys split town, Dean’s wife (Lex Scott Davis) tries to track them down, only to discover there is no record of a Ricky Stanicky at any hospital anywhere.
Caught in their lifelong lie, they panic.
“If the truth does come out,” says JT, “my marriage is over.”
The plan to hire an actor to play Ricky leads them to Rock hard Rod (Cena), an X-rated rock and roll impersonator, who immediately ingratiates himself with their significant others and their boss Summerhayes (William H. Macy).
“Ricky Stanicky” has the earmarks of a Farrelly film; the outrageous premise, the jokes that come very close to the line and broad comedic performances (ie: John Cena dressed like “Baby One More Time” era Britney Spears). But underneath the silly stuff is an almost touching story about a man who finds a new way to get through life.
“My job sucked,” Ricky/Rod says. “I had no friends. But now I have all those things.”
It’s the same kind of subterfuge the Farrellys played with “There’s Something About Mary,” a gross-out comedy about finding true love. “Ricky Stanicky” doesn’t have the hard laughs of that film, but, in Cena, it does have a star who is able to effectively mix-and-match the silly with the saccharine. That combo is the key to the modest success of “Ricky Stanicky.”
It’s a shame Cena isn’t given a more convincing framework to play inside. The premise has lots of potential, but Farrelly and his laundry list of writers (five listed in the credits including Farrelly) emphasize the Hallmark aspects of the story over the humorous ones.
There’s something about “Ricky Stanicky.” There’s a good cast, bolstered by Cena’s charm, and the occasional deep laugh but the mix of humour and heart never quite finds the right balance.
“The Blackening,” a new horror satire now playing in theatres, answers a question never before addressed in a horror film. In the world of modern slasher films, the Black characters are always the first to die, so this new film asks, “How would that change if the entire cast is Black?
Set on a Juneteenth weekend at a remote Airbnb in the middle of nowhere, the story begins with party hosts Morgan (Yvonne Orji) and Shawn (Jay Pharoah) prepping the house in advance of their guest’s arrivals. In the Game Room they find a game called The Blackening, with a Monopoly-style design around a racist blackface caricature in the center of the board.
Shocked by the game’s iconography, they are even more shocked when the game demands they answer a series of questions, or they will be killed. They play along until Shawn gets a question wrong, and things quickly go south.
Cut to the others as they make their way to the cabin for a weekend of “reckless, unadulterated fun.” Lawyer Lisa (Antoinette Robertson), her BFF Dewayne (Dewayne Perkins, who co-wrote the script), Allison (Grace Byers) and former gang member King (Melvin Gregg) are in one car. Arriving separately are the boozy Shanika (X Mayo), Lisa’s on-and-off boyfriend Nnamdi (Sinqua Walls) and Clifton (Jermaine Fowler), an oddball who says he was invited by Morgan, but no one seems to know him.
As the night wears on weird things start to happen. Doors open by themselves and strange characters appear in the shadows. Not that anyone notices… at first. Dewayne is high on MDMA while everyone else, save for Clifton, plays the card game Spades.
The drinks flow as the old friends gets caught up, and soon the attention turns to the Game Room and the unusual game Morgan and Shawn played hours earlier before their disappearance. With the remaining guests crowded around the board, the game begins to talk and taunt. “If you answer my questions correctly you will live,” the game says, “and Morgan will be released. Get one wrong and you will die.”
As the game asks questions like “Name five Black actors who appeared on ‘Friends,’” it becomes clear the danger is real, and there are consequences for their answers. This is not just a board game, it is a game of survival. As panic sets in, the group has to make a crucial decision. Do we stay together or split up and try and get help?
“The Blackening” borrows tropes from familiar slasher movies. The remote cabin in the woods is a classic location, we meet a couple redneck hillbillies at a gas station and there’s more than a hint of “Saw” on display. But what the movie does is take those elements and use them through a lens to explore Blackness, racism and popular culture. It’s a movie loaded with subtext, one that uses the genre to speak to issues that confront Black people every day.
In its examination of stereotypes and prejudice, from within and outside of their group, the movie tackles big topics but does so with a great deal of humor and some real suspense. The allegories may be more effective than the actual gore, but despite the light touch with the bloody violence, “The Blackening” achieves something special and interesting within its genre.
Richard joins Ryan Doyle and Jay Michaels of the NewsTalk 1010 afternoon show to talk about the weeks big pop culture stories, the popularity of “WandaVision” and the nostalgic rush of “Coming 2 America.”
“Coming 2 America,” the thirty-three-years-in-the-making sequel to the Eddie Murphy hit, now streaming on Amazon Prime, may be the peak pandemic film. It’s a blast of nostalgia for those who seek comfort in the familiar when the world seems to have gone mad, tempered with a new, updated attitude.
Murphy and Arsenio Hall return as newly-crowned King Akeem Joffer of Zamunda and his confidante Semmi (among at least a half dozen other characters they play). The African nation is still a paradise where Akeem, his wife Queen Lisa Joffer (Shari Headley) and three daughters,
Princess Meeka (KiKi Layne), Princess Omma (Bella Murphy) and Princess Tinashe (Akiley Love), are benign and loved rulers, but there are hiccups.
With no male heir to take his place, King Akeem is vulnerable to the whims of General Izzi (Wesley Snipes), leader of the nearby Nextdoria. When it appears that Akeem may have an heir from a one-night stand from his first trip to Queens, New York decades ago, the King and Semmi gas up the private jet and return to America.
There’s more plot and quite a few more laughs, but the story is so predictable, you’ve probably already figured where this story is going. It’s comfort food with a side of girl power, that plays like the first fish-out-of-water movie in reverse. Originally, a prince came to Queens to find a queen and self-awareness; now a prince comes to Zamunda to find a wife and himself.
Original screenwriters Barry W. Blaustein and David Sheffield along with “Black-ish” writer and producer Kenya Barris, give the people what they want, a blast of nostalgia that mostly does away with the dated sexism of the first film. There’s even some subtext about tradition vs. progress woven through the story, but let’s be real, you’re not dialling up “Coming 2 America” for the subtext. You’re here for the warm fuzzies. There’s something comforting about Murphy’s effortless way with a funny line, and while the movie isn’t exactly a knee slapper all the way through, it’s fun to see Eddie and Arsenio back in their royal robes.
Supporting work from Leslie Jones as Akeem’s loud and proud one-night-stand is laugh-out-loud-funny and Snipes, as the slightly unhinged Izzy, reaffirms that the comedic chemistry he and Murphy shared in “Dolemite Is My Name” wasn’t a fluke. Add to that a game of spot the actors reprising their roles and some new cameos—James Earl Jones! John Amos! Shari Headley! Rick Ross!—and you have peak pandemic, a movie that amiably passes the time until you can go to bed.
“Sorry to Bother You” is set in an alternative reality version of present day but feels like a throwback to the politically charged satires of the 1980s and 90s. Echoes of “Repo Man” and the like reverberate throughout but nonetheless director Boots Riley is never less than original in his telling of the tale of a telemarketer who trades part of his identity for success.
The story centers around slacker Cassius Green (LaKeith Stanfield), a young man who lives in his Uncle Sergio’s (Terry Crews) garage. “I’m just out here surviving,” he tells his performance artist girlfriend Detroit (Tessa Thompson). In need of money—he’s four months behind in rent—he goes to a telemarketing job interview armed with a phoney resume and some fake “Employee of the Month” awards. Lies notwithstanding he gets the gig. “This is Tele marketing,” says his new boss (Robert Longstreet). “We’re not mapping the human genome here. You will call as many numbers as possible. You will stick to the script we give you and you will leave here happy.”
After a rough start Cassius gets some advice that changes everything. “If you want to make some money here use your white voice,” says the guy in the next cubicle (Danny Glover). “I’m talking about sounding like you don’t have to care. Like you don’t really need this money. It’s what they wish they sounded like.” The technique works (David Cross provides Cassius’s white voice) and on the eve of a strike in the telemarking office Cassius is promoted, bumped upstairs to the elite Power Callers floor. “Welcome to the Power Caller suite,” says his new boss (Omari Hardwick). “Use your white voice at all times here.”
The new job involves selling power—fire power and manpower, specifically the services of WorryFree, a service that offers lifetime work contracts to desperate people. Run by mogul Steve Lift (Armie Hammer), the company has been accused of selling slave labour, and now Cassius is their number one salesperson. His success comes at a cost, however. His girlfriend doesn’t approve and his striking friends call him a scab. The new job may be on the wrong side of the ethical divide but, at first at least, Cassius grins and bears it. “I’m doing something and I’m really good at it. I’m important.”
From here the story goes places that will not be spoiled here. Suffice to say Riley takes “Sorry to Bother You’s” viewers on a journey unlike any other. The film is an audacious capitalist nightmare, heavy on anti-corporate, pro-union rhetoric filtered through a kaleidoscopic lens. It’s risky and witty, edgy and inventive and unrestrained in a way that makes it utterly unique. Scathing commentary on the state of the world—“If you are shown a problem,” says Squeeze (Steven Yeun), “and can’t do anything about the problem you get used to the problem.”—is coupled with creative, confrontational filmmaking.
In “Sorry to Bother You” Riley has created an apocalyptic world that looks like ours but tilted 180°. He’s populated it with offbeat characters who forward the story but bring humanity to the strange world they inhabit. Their take on race relations, employment and relationships feels real even though nothing else in the movie does. It’s the peak of satire to heighten the situation but still make real, humanistic points. Riley does both in a way that is both experimental and entertaining.
