Review: ‘Coming 2 America,’ starring Eddie Murphy, Arsenio Hall, Jermaine Fowler, Leslie Jones, KiKi Layne, Shari Headley and Wesley Snipes

March 4, 2021

by Carla Hay

Bella Murphy, Akiley Love, Arsenio Hall, Eddie Murphy, Shari Headley, KiKi Layne and Paul Bates in “Coming 2 America” (Photo by Quantrell D. Colbert/Paramount Pictures/Amazon Prime Video)

“Coming 2 America”

Directed by Craig Brewer

Culture Representation: Taking place in the fictional African country of Zamunda and briefly in the New York City borough of Queens, the comedy sequel “Coming 2 America” features a predominantly black cast of characters (with a few white people) representing African royalty, working-class Africans and Americans of various classes.

Culture Clash: An African royal, who is shamed for not having a male heir, finds out that he has an illegitimate American son, who is brought to Africa to be groomed as an heir to the throne.

Culture Audience: “Coming 2 America” will appeal primarily to fans of 1988’s “Coming to America,” but this sequel lacks the charm of the original movie.

Wesley Snipes, Jermaine Fowler and Leslie Jones in “Coming 2 America” (Photo by Quantrell D. Colbert/Paramount Pictures/Amazon Prime Video)

The comedy film “Coming 2 America,” which is the sequel to 1988’s “Coming to America,” is a perfect example of a movie that was not worth the wait. It’s a dull and disappointing mess that trashes or wastes the character relationships that made the “Coming to America” a crowd-pleasing hit. Co-stars Eddie Murphy and Arsenio Hall, who were a dynamic duo in “Coming to America,” don’t have very many scenes together in “Coming 2 America.”

The new characters that are introduced in “Coming 2 America” are bland or obnoxious. An endearing romance/courtship that was at the heart of “Coming to America” is largely absent from “Coming 2 America,” which rushes a predictable relationship between a young couple who have almost no believable chemistry with each other. And “Coming 2 America” is filled with misogyny and racist stereotypes about black people, from a mostly white team of filmmakers.

The title of this dreadful and boring sequel shouldn’t have been “Coming 2 America.” It should have been titled “Shucking and Jiving in Zamunda.” That’s essentially what all the main characters do throughout this idiotic movie that takes place mostly in the fictional African country of Zamunda, not in America.

The “fish out of water” premise of culture shock that worked so well in “Coming to America” is muddled and mishandled in “Coming 2 America,” which was directed by Craig Brewer. This entire film looks like a tacky TV-movie instead of what it should have been: a cinematic triumph in comedy. (It’s easy to see why Paramount Pictures chose not to release “Coming 2 America” in theaters and sold it to Amazon Prime Video instead.) It doesn’t help that the movie’s musical score is schlocky sitcom music by Jermaine Stegall. Kenya Barris, Barry W. Blaustein and David Sheffield wrote the awful and lazy screenplay for “Coming 2 America.”

Murphy and Hall do their expected schticks of portraying various characters (some in prosthetic makeup), just like they did in “Coming to America.” It brings some mildly amusing moments that are fleeting and recycled. (The barbershop scene is back, and it’s not as funny as it was in the first “Coming to America” movie.) But these moments are not enough to save “Coming 2 America,” which is ruined by too many stale jokes that would’ve been outdated in 1988.

In fact, there’s almost nothing modern about “Coming 2 America,” except for some of the contemporary costumes. The song selections and musical numbers that are used as filler in this movie are straight out of the early 1990s, as if the filmmakers are trying to relive the music of their youthful days. And there are several celebrity cameos from African American entertainers, to distract from the movie’s silly plot. However, sticking a bunch of talented black people in front of the camera doesn’t make the writing and directing of “Coming 2 America” any less moronic and cliché.

In the beginning of “Coming 2 America,” Prince Akeem (played by Murphy) and his loyal sidekick/best friend Semmi (played by Hall) are living an uneventful life in Zamunda. Akeem and his American wife Lisa (played by Shari Headley)—who met, fell in love, and got married in “Coming to America”—are now celebrating their 30th wedding anniversary, as well as peace and prosperity in Zamunda. Semmi is still portrayed as a bachelor who has nothing better to do with his life but to be Akeem’s glorified lackey.

Akeem and Lisa have three children, all daughters: eldest Meeka (played by KiKi Layne), who’s in her mid-to-late 20s, is the only daughter with a distinct personality, since she’s the most assertive and outspoken of the three. Middle teenage daughter Omma (played by Bella Murphy, one of Eddie Murphy’s real-life daughters) and youngest pre-teen daughter Tinashe (played by Akiley Love) don’t have much dialogue in the movie. Their only moments where they get to shine are in some choreographed fight scenes.

Lisa’s father Cleo McDowell (played by John Amos) has expanded his fast-food McDowell’s restaurant business to Zamunda. McDowell’s blatantly copies McDonald’s, even down to having a “golden arches” sign in the shape of the letter “M.” This copycat gag leads to a not-very-funny segment in the beginning of the movie about how much McDowell’s imitates McDonald’s. Cleo quips, “They’ve got Egg McMuffins. We’ve got Egg McStuffins.” That’s what’s supposed to pass as comedy in this horribly written film.

Oscar-winning “Black Panther” costume designer Ruth E. Carter did the costumes for “Coming 2 America.” The costumes in “Coming 2 America” are among the few high points of the movie. Unlike “Black Panther,” which treated its female and male characters as equals, “Coming 2 America” is a parade of misogyny that makes the female characters look inferior to the male characters in subtle and not-so-subtle ways.

The running “joke” in the film is that Zamunda is a socially “backwards” country with laws where women can’t be the chief ruler of the nation, and women can’t own their own businesses. The Zamundan culture is that women exist only to cater to men. Females can’t make any big decisions without the approval of the closest patriarch in her family. It’s sexism that could be ripe for parody, if done in a funny and clever way. But “Coming 2 America” bungles it throughout the entire movie, except for the end when a predictable decision is made to resolve a certain problem related to Zamunda’s sexist laws.

That decision is rushed in toward the very last few minutes of the movie. And it looks like what it is: the filmmakers’ way of pandering to feminism. However, this fake feminist plot development doesn’t erase all the ways that “Coming 2 America” marginalizes and “dumbs down” the women in the movie in a way that’s so foul and unnecessary.

“Black Panther” proved you don’t have to make black women in an African country look like they’re incapable of being smart and strong leaders. The “Coming 2 America” filmmakers try to rip off a lot of “Black Panther’s” visual style, but it’s all a smokescreen for the way “Coming 2 America” makes the African country of Zamunda (and therefore the people who live there) look like a very ignorant culture that’s behind the times.

In “Coming 2 America,” the “rank and file” black female citizens in Zamunda are just there to literally shake their butts in the dance routines; act as servants who are required to bathe or groom the royal men; or be preoccupied with marriage and/or motherhood. Akeem is shamed and ridiculed by a rival named General Izzi (played by Wesley Snipes) because Akeem has no male heirs. Izzi is portrayed as a cartoonishly buffoon villain who’s power-hungry and jealous of Akeem’s status as a royal heir.

In order to gain power in Zamunda, Izzi would rather form some kind of alliance with Akeem, instead of fighting Akeem. When Izzi storms the royal palace with an army of men, Izzi tells Akeem: “I came here for blood, but not the murder kind. Family blood, marriage blood.” Izzi suggests that Izzi’s son Idi (played by Rotimi Akinosho) marry Meeka, but Akeem rejects the offer.

Akeem’s widower father King Jaffe Joffer (played by James Earl Jones) thinks he’s going to die soon. And the king isn’t happy that Akeem doesn’t have a son. “The throne must pass to a male heir,” King Jaffe declares. Jones, who is a majestic presence in many other movies, has his talent squandered in “Coming 2 America,” which makes him look like a sexist old fool who doesn’t think any of his granddaughters could be worthwhile leaders.

Izzi tells Akeem that it’s too bad that Akeem doesn’t have a male heir, because Izzi think his daughter Bopoto (played by Teyana Taylor) would be a perfect match for any son of Akeem’s. And just like that, Semmi and a crotchety elderly man named Baba (played by Hall, who’s made to look like a tall, African version of Gollum) tell Akeem that he actually does have a son that Akeem didn’t know about for all of these years. Akeem doesn’t really believe it, until he’s reminded of something that happened when he and Semmi were in the New York City borough of Queens, during the time that the “Coming to America” story took place.

Meanwhile, King Jaffe announces, “My funeral should be spectacular. Let’s have it now, while I’m alive.” This was apparently an excuse for the “Coming 2 America” filmmakers to have one of several dance numbers in the movie as a gimmick to fill up time.

King Jaffe’s “funeral party” features Morgan Freeman introducing performances by En Vogue and Salt-N-Pepa, who perform the 1993 hit “Whatta Man.” Also performing at the party is Gladys Knight, who is forced to embarrass herself in butchering her 1973 classic “Midnight Train to Georgia” because the filmmakers made her change the song to “Midnight Train to Zamunda.” At any rate, King Jaffe dies at the party (he falls asleep and doesn’t wake up), which is a good thing for Jones, because the less screen time he has in this garbage movie, the better.

After his father’s death, Akeem becomes king, but Akeem is now desperate to find a male heir. Akeem’s son (who is constantly called a “bastard” in this movie) was the result of a one-night stand that Akeem had in Queens. “Coming 2 America” then shows how this son was conceived. Akeem and Semmi, who were in Queens to look for a woman to marry Akeem, were at a nightclub, when Semmi spotted an American woman named Mary Junson (played by Leslie Jones) at the bar. (“Coming 2 America” uses flashbacks from “Coming to America” and some visual effects to recreate this moment.)

Semmi struck up a conversation with Mary and told her that he was working for an African prince who was looking for a bride. Mary takes one look at Akeem and doesn’t need any encouragement to hook up with Akeem. She invites Akeem back to her place. And as Akeem remembers it in the present day, Mary blew smoke from marijuana (which he calls “wild herbs”) in his face, thereby impairing his judgment.

Akeem describes Mary and his sexual encounter with her in this way: “A wild boar [Mary] burst into the room and rammed me and rammed me.” The sex is shown in a flashback in a very problematic scene, because it portrays Mary as someone who sexually assaulted Akeem. He definitely wasn’t a willing partner, by the way it’s portrayed in the movie, but it’s played off as something to laugh at in the movie. It makes Mary look like she’s so desperate for sex that she will incapacitate and rape a man.

And the dialogue in this sexual assault scene is just so cringeworthy. Before Mary attacks Akeem, she says to him, “I hope you like pumpkin pie, ’cause you goin’ to get a whole slice.” Mary can’t speak proper English in the movie because the filmmakers want to make her look as dumb and uneducated as possible.

It’s also downright sexist and racist to call a black woman a “boar,” which is an animal that is an uncastrated male swine. It doesn’t make it okay if another black person says this insult, just because he was paid to say it as an actor. It should be mentioned that two out of the three screenwriters of this crappy “Coming 2 America” screenplay are white. Had there been more black people on the filmmaking team, it’s doubtful that there would have been so many insulting and offensive portrayals of black people (especially black women) in this trash dump of a movie.

Portraying Mary as a desperate sexual assaulter isn’t the only problematic thing about this character. The entire character of Mary is problematic, because it’s all about reinforcing the worst negative stereotypes that movies and TV have about black women who are single mothers: loud, crude, stupid, broke/money-hungry and promiscuous. Mary (who doesn’t seem to have a job) calls herself a “ho” multiple times in the movie.

Akeem also calls Mary a “morally bereft” woman when he describes his memory of her. And when Akeem and Semmi inevitably go back to Queens to find Mary and the mystery son, Mary isn’t sure if Akeem is the father of her child. That is, until she finds out how rich Akeem is (Semmi accidentally drops open a suitcase full of cash in front of her), and suddenly Mary can’t wait to move to Zamunda and live in the royal palace.

The filmmakers go out of their way to make Mary as mindless and vulgar as possible. When Mary goes to Zamunda and she’s served caviar, she doesn’t know what this delicacy is and calls it “black mashed potatoes.” And in another scene in the movie, Mary shouts, “I am so hungry, I could eat the ass out of a zipper!”

Mary and Akeem’s son Lavelle Junson (played by Jermaine Fowler) is a good guy overall. But the filmmakers force a negative stereotype on him, by making him yet another black male who breaks the law. Lavelle and his Uncle Reem (played by Tracy Morgan, using the same shady clown persona that he usually has in his movies and TV shows) are ticket scalpers. Clearly, the “Coming 2 America” filmmakers wanted yet another ghetto stereotype of black people who commit illegal acts to make money.

“Coming 2 America” has a very racially condescending scene of Lavelle and Reem (who is Mary’s brother) at a corporate office on Lavelle’s 30th birthday. Lavelle is at this company (a firm called Duke & Duke) to apply for some kind of computer job. Lavelle tells Reem that he’s tired of having an unstable income from ticket scalping, and he wants to earn an honest living in a steady job. Reem thinks Lavelle is a dolt for wanting to get a legitimate job, and he asks Lavelle if he’s going to use his “white voice” in the interview.

In the interview with the firm’s racist scion named Calvin Duke (played by Colin Jost), Lavelle is subjected to a barrage of bigoted assumptions that are meant to make Lavelle feel inferior. When Calvin finds out that Lavelle was raised by a single mother who’s unemployed (she got laid off from her job), Calvin makes a snide remark: “They say that not having a dominant male figure at home is detrimental to a child.” There are some more racist insults (Calvin asks Lavelle if his mother is addicted to drugs or gambling), before the interview ends predictably, with Lavelle angrily telling Calvin he doesn’t want the job.

The thing is that even though the character of Calvin is supposed to represent white elitists who are racists, the “Coming 2 America” filmmakers do everything to make a lot of the movie’s black characters (especially Mary) the very degrading stereotype that racists like Calvin have of black people. And that’s why the movie’s job interview scene is very phony in its intentions to make it look like racists are most likely to be spoiled white rich kids. The reality is that people from all walks of life can be racists.

It turns out that Lavelle isn’t going to need a job because Akeem soon finds Lavelle (who’s scalping tickets outside of Madison Square Garden), introduces himself as Lavelle’s long-lost father, and tells Lavelle that his new identity is as a wealthy royal heir in Zamunda. Lavelle says he won’t move out of New York without his mother. And quicker than you can say “stupid comedy sequel,” Lavelle and Mary are in Zamunda. And this time, the Americans are the ones who are the “fish out of water.”

Lisa isn’t too happy that Akeem has a son that they didn’t know about until recently. However, she’s willing to forgive Akeem because Lavelle was conceived before Akeem met Lisa. Someone who is even less thrilled about Lavelle is Meeka, who sees Lavelle as a threat to any leadership power she hoped to inherit as a legitimate member of this royal family. The sibling rivalry scenes predictably ensue.

Meanwhile, Lavelle meets a hair stylist named Mirembe (played by Nomzamo Mbatha), who works for the royal family. She’s single and available, so you know where this is going. Mirembe changes Lavelle’s hairstyle from the Kid ‘n Play-inspired fade that he had in Queens to a short-cropped locks hairstyle that Erik Killmonger from “Black Panther” would wear, but with a rat tail braid in the back.

Mirembe says that she would love to open her own hair salon one day (her biggest inspiration is the 2005 movie “Beauty Shop”), but she’s sad and discouraged because the law in Zamunda doesn’t allow women to own their own businesses. Lavelle thinks this law is wrong and he promises her that when he has the power, he’s going to change the law. Lavelle and Mirembe are good-looking, but there’s no believable romantic spark between them, so their inevitable courtship is very boring.

The only thing that looks authentic between them is a meta moment when Mirembe and Lavelle have a conversation about which of the “Barbershop” movie is the best of the series, and how sequels usually aren’t as good as the original. Mirembe says, “This is true about sequels. Why ruin it?” If only the “Coming 2 America” filmmakers took that advice for this movie.

It should come as no surprise that the movie relies on the cliché of a love triangle. Now that Akeem has a male heir, Izzi ramps up the pressure for Bopoto to become Lavelle’s wife. Akeem is open to the idea after Bopoto does a sexy dance for the royal family while showing her ample cleavage. However, Bopoto is deliberately written as a submissive airhead. More than once in the story, Lavelle says he wants to be with an intelligent and independent-minded woman, so it’s obvious which woman he’ll choose in the love triangle.

Fowler has an appealing screen presence as Lavelle, but he’s hemmed in by a character that’s written as average and unremarkable. “Coming 2 America” is also very unfocused, since it can’t decide if the story should be more about the Lavelle/Mirembe romance or the Lavelle/Meeka rivalry. Truth be told, even though Layne plays Lavelle’s half-sister, her scenes with Fowler are more dynamic and have more energy than the scenes with Fowler and Mbatha. Layne’s considerable talents are underappreciated in “Coming 2 America,” because her Meeka character isn’t in the movie as much as people might think she should be.

Continuing with the fixation on early 1990s music, there’s another out-of-place musical number where people do a big sing-along to Prince’s “Gett Off,” led by Akeem’s servant Oha (played by Paul Bates). And there’s an atrociously written scene where Queen Lisa gets drunk with Mary at a party, and they start dancing to Digital Underground’s “The Humpty Dance.” This scene is supposed to make it look like Lisa is getting back in touch with her New York hip-hop roots.

But when they have Lisa and Mary repeat the lines, “Uppity bitch what?,” it just goes back to making the black women in this movie look like they have a ghetto mentality. It says a lot that the “Coming 2 America” filmmakers make the woman who is literally the movie’s black queen incapable of being completely dignified. They try to make it look like Lisa has been suppressing her “true” self as a trashy party girl, when Lisa was never that way in the first “Coming to America” movie. Almost all the black women in this movie are marginalized as either existing only in the story because they’re appendages to the men, as wives/love interests/sex partners, servants or daughters.

One of the signs of a creatively bankrupt movie is when it relies too much on celebrity cameos without bringing any genuine laughs. (John Legend sings during a mid-credits scene, and it’s a useless appearance that has no bearing on the movie’s story.) Trevor Noah makes a quick and inconsequential cameo as a TV newscaster named Totatsi Bibinyana of the Zamunda News Network.

Eddie Murphy, who is the main attraction for the “Coming to America” franchise, should have been a producer and/or writer of “Coming 2 America.” His company Eddie Murphy Productions helped finance the movie, but Murphy himself was not a credited producer responsible for the movie’s content and day-to-day operations. If he had been a producer or writer, Eddie Murphy could have brought better creative clout to this movie, which makes him do silly sketches that are way beneath his talent. The comedy and tone, including the slapstick scenes, are monotonous and unimaginative.

Lavelle goes through an initiation process that includes taming a tiger and a “circumcision” ritual that are ineptly written and filmed. As part of his “royal training,” Lavelle gets criticism from Semmi, who yells at him: “You walk like an American pimp!” Lavelle shouts back, “You dress like a slave from the future!”

Doing a high-profile, highly anticipated sequel such as “Coming 2 America” isn’t just about the paychecks. It’s about making good entertainment and a fairly accurate representation of cultures to make the story look relatable. And it should be about celebrating people, instead of making them demeaning caricatures that embody what racist and sexist bigots believe.

Amazon Prime Video will premiere “Coming 2 America” on March 5, 2021.

Review: ‘Cut Throat City,’ starring Shameik Moore, Tip ‘T.I.’ Harris, Demetrius Shipp Jr., Kat Graham, Wesley Snipes, Terrence Howard, Eiza Gonzalez and Ethan Hawke

September 20, 2020

by Carla Hay

Demetrius Shipp Jr., Keean Johnson, Shameik Moore and Denzel Whitaker in “Cut Throat City” (Photo courtesy of Well Go USA)

“Cut Throat City”

Directed by The RZA

Culture Representation: Taking place in New Orleans in 2005 and 2006, the crime drama “Cut Throat City” has a predominantly African American cast (with some white people and Latinos) representing the middle-class, working-class and criminal underground.

Culture Clash: A group of young men turn to a life of crime when they have problems finding jobs after the devastation of Hurricane Katrina.

Culture Audience: “Cut Throat City” will appeal mostly to people who like typical “gangster” movies that have a lot of violence and a mediocre plot.

T.I. in “Cut Throat City” (Photo courtesy of Well Go USA)

How’s this for an unoriginal and tired idea for a movie? Poor people (who are usually people of color) become criminals because they’re desperate for money. And there’s a crime lord that they have to answer to who might or might not turn against them. “Cut Throat City,” despite its talented cast and an effort to be a somewhat stylish-looking film, still serves up this recycled and uninspired concept in a movie that doesn’t really do anything for the genre of gangster films. In fact, “Cut Throat City” (at 132 minutes long) gets a little too bloated and the plot a little too ridiculous for it to be considered a movie that will reach cult status as an undiscovered gem.

“Cut Throat City” (directed by The RZA, who’s best known as a founding member of the rap group Wu Tang Clan) could have used better editing to cut out the parts of the movie that drag before the movie’s big climactic scene. However, the screenplay by Paul “P.G.” Cuschieri is largely to blame for the most cringeworthy aspects of “Cut Throat City,” including the dumb dialogue and some of the most unrealistic aspects of the movie’s depiction of police investigations in a big American city.

New Orleans is the city where the movie takes place, in 2005 and 2006, with Hurricane Katrina as the catalyst for a lot of the angst and criminal activity in the story. “Cut Throat City” begins before Hurricane Katrina happened, when four working-class friends in their early 20s are getting ready for the wedding of one of the guys in the group. All four of them live in the Ninth Ward of New Orleans, which is considered one of the most financially deprived and roughest parts of the city.

The groom is James (played by Shameik Moore), who prefers to go by the nickname Blink, who is an aspiring writer/illustrator of graphic novels. Blink’s three closest friends are Miracle (played by Demetrius Shipp Jr.), who’s an impulsive hothead; Junior (played by Keean Johnson), who often gets teased because he’s a white guy who tries to be more like his African American friends; and mild-mannered and quiet Andre (played by Denzel Whitaker), who’s Blink’s best man and an aspiring jazz musician. (He plays the trumpet.)

Blink is getting married to his girlfriend Demyra (played by Kat Graham), who is the mother of their son, who’s about 3 or 4 years old. At the wedding, Demyra’s mother (played by Stacie Davis) gives Demyra some marriage advice: “It’s not about happiness. It’s about meaning. Find the meaning and happiness will come later.” That’s this movie’s idea of a “pep talk,” which is supposed to indicate to viewers that many of the people in this movie have a pessimistic view on life.

Demyra and Blink are actually happy together, and the wedding goes smoothly. The honeymoon is another story, because Hurricane Katrina hits within a few days after the wedding. Even before the hurricane, the main problem in Blink and Demyra’s relationship is that Blink is having a hard time finding work as a graphic novelist. And now that he’s a married man, he’s really expected to contribute income to help pay the bills. Even though Blink has an associate’s degree from college and he attended Tulane University, his college education won’t help him get his dream job as a graphic novelist.

Blink has been working on a concept for a graphic novel called “Cut Throat City.” He gets a meeting with a condescending publishing executive named Peter Felton (played by Joel David Moore), who starts off by looking at Blink’s work and calling it mostly “derivative.” Peter does see one illustration that he likes, so he asks Blink who his influences are. Blink replies by listing Charles Schulz, Gary Larson and Yoshiaki Kawajiri. Peter then says in an exasperated tone that by “influences” he meant who are the influences in Blink’s life.

Peter also asks Blink what kind of audience he wants for “Cut Throat City.” Blink says he “never really thought about it.” Peter responds, “The first thing you think about is your audience.” Blink then says, “If we only focus on our markets, then a cartoon wouldn’t be anything more than a cheap, dim commodity that will never change.”

When Peter says he doesn’t know where Blink could’ve gotten that idea, Blink responds that it was Peter who actually said it at an anime expo in 1990. “I got a transcript from the library,” Blink adds. “Fair enough,” replies Peter, who’s obviously done with Blink at point. He then coldly dismisses Blink from his office and tells an assistant to bring in the next person.

It’s one of many rejections that Blink gets as an aspiring graphic novelist. Andre tries to make money as a street musician, but it’s barely enough to be considered pocket change. Miracle and Junior are also unemployed. For whatever reason, the movie doesn’t show them looking for any jobs they can get. Hurricane Katrina has devastated New Orleans, so the job market has dried up in many ways, but these four friends just seem like they’ve given up trying to find work.

To make matters worse, Blink is too proud to accept financial help from the Federal Emergency Management Agency (FEMA). As several weeks go by and things get more financially desperate for Blink and Demyra, she’s had enough of Blink refusing money from FEMA, and she tells Blink that they have to apply for FEMA aid. When they get to the FEMA office, their application is denied since they don’t need housing, and they’re told that homeless people are getting priority for the financial aid. And to add insult to injury, Blink and Demyra also aren’t eligible because they live in the Ninth Ward.

This FEMA rejection is a reason for Blink to feel angry at “the system,” which is why he eventually goes along with Miracle’s idea to start working for Blink’s relative Lorenzo “Cousin” Bass (played by Tip “T.I.” Harris), who’s a local gangster. (T.I., who’s also known as a hitmaking rapper in real life, is wearing makeup in the movie that makes Cousin look like he has a skin condition like vitiligo.) Blink, Miracle, Junior and Andre start dealing drugs for Cousin. But since they’re new to drug dealing, they mess things up and end up owing money to Cousin.

To show how vicious and unforgiving he is, Cousin makes the four guys watch as an unlucky man who has angered Cousin is tortured by having a wild raccoon attack the guy’s genitals. It’s not explicitly shown in the film, but it’s implied that this happened. The man is shown in the aftermath almost doubled over in pain with blood on the crotch area of his pants when he’s thrown out by Cousin and his henchmen.

Cousin and his group of thugs also force wild raccoons to fight each other in cages. And one of the main characters has a beloved dog, which predictably gets shot and killed by a vengeful Cousin during a fight scene. For anyone who hates seeing animal cruelty depicted on screen, it might be best to avoid this movie or close your eyes during these scenes.

Knowing that Cousin could also make their lives hell if they don’t come up with the money they owe him, the four friends decide to rob a local casino. And then one casino robbery turns into more, as they blow their money on strip clubs and gambling. All of these robbery scenes are completely ludicrous because the guys walk into the casino together wearing matching dark hoodies (automatically calling attention themselves) and they make little effort to disguise their faces, unless you consider wearing see-through nylon stockings on your face a “disguise.”

The casinos are also very crowded and there are surveillance cameras everywhere. And yet, the movie wants viewers to believe that these wannabe gangsters are clever enough not to get caught. After one robbery, which resulted in a big shootout with police and the theives’ getaway van being riddled with bullet holes, the four guys just trade in the van for a Dodge car in good condition. What used car dealer in their right mind would trade a car that’s in good shape for a bullet-damaged piece of junk?

“Cut Throat City” also makes the same stupid mistake that’s in a lot of badly written crime movies that take place in a big city: Only one cop is investigating the case. For a series of casino robberies in a city as big as New Orleans, it’s completely unrealistic to have only one investigator. And this cop also happens to look like a model/actress. Her name is Lucinda Valencia (played by Eiza Gonzalez), who has the thankless job of going into dangerous and sketchy areas by herself numerous times during the investigation, with no sign of a cop partner or backup anywhere.

There are also some other supporting players in this muddled and messy saga: Recently elected city councilman Jackson Sims (played by Ethan Hawke), who’s a former police officer and a very corrupt politician; Courtney (played by Rob Morgan), a sleazy barber who’s a confidential informant; and The Saint (played by Terrence Howard), a smooth-talking, bow-tie-wearing gangster who has criminal authority over Cousin.

Also part of the story, in a small role, is Rev. Sinclair Stewart (played by Isaiah Washington), who takes bribes to conduct funeral services for people who died under suspicious circumstances and don’t have a medical exam or death certificate. The bribes he takes include payment for forged death certificates. And somewhere in this jumbled story, Blink reunites with his estranged father Lawrence (played by Wesley Snipes), who abandoned Blink when Blink was a child.

“Cut Throat City” also has some bizarre references to “The Wizard of Oz.” When Blink, Miracle, Junior and Andre first go to meet with Cousin about working for him, Cousin says that his headquarters is like Oz. He compares Junior to the Tin Man, Andre to the Cowardly Lion, Miracle to the Scarecrow and Blink to Dorothy. Later in the movie, The Saint covers the young robbers’ heads in ski masks and tells them, “There’s no place like home.”

Speaking of the lines in this movie, people will be rolling their eyes at how corny some of the dialogue is. In one scene, Courtney tells Lucinda that local thugs “will shoot you in a crack cocaine heartbeat.” In another scene, Cousin says about the man who is left sobbing after the raccoon torture: “Two things I can’t stand: a lying-ass woman and a crying-ass man.” If this is Gangster Poetry 101, no thank you.

And in another scene, Cousin and The Saint have a meeting, where Cousin says to him in a semi-monologue that sounds like it was written by someone who thinks this is how black gangsters are supposed to talk: “We’re too much alike: greedy-ass motherfuckers. That’s why they can take all the opportunity away from us. They can flood us, jail us, try to kill us, but they can never kill our greed. That’s why we’ll pimp, rap, sling dope, cheat or steal, even it’s from each other.”

“Cut Throat City” has a twist at the end that’s meant to make the movie look like more artistic than it really is. There’s an end-credits scene that doesn’t really add much to the conclusion of this very predictable and substandard story. There’s nothing inherently wrong with the technical aspects of how the movie was filmed, and the movie is well-cast with good actors, but the director needed to make better choices in editing. Ultimately, it’s the weak and trite screenplay that makes “Cut Throat City” a movie a disappointment that doesn’t offer anything exciting or innovative.

Well Go USA released “Cut Throat City” in select U.S. cinemas on August 21, 2020.