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"That's
Alright 'Momma'"
by Scott Mantz
"Big Momma's House"
Martin Lawrence, Nia Long
Directed by Raja Gosnell
Isn't it ironic
how some actors deliver their finest performances when they play
members of the opposite sex? There's Dustin Hoffman, who had one
of his most famous roles when he dressed up as "Tootsie." Robin
Williams gave his best non-bearded performance when he went to work
as "Mrs. Doubtfire," and, on a dramatic level, an unknown actress
named Hilary Swank snagged an Academy Award when she proved that
"Boys Don't Cry."
Now, hyperactive
funnyman Martin Lawrence joins the cross-dressing club when he checks
into "Big Momma's House." While the film certainly represents his
best solo performance to date (which, after "Blue Streak," isn't
saying much), it is full of so many of the same tired jokes that
we've seen before that it's probably best left for cable. Nevertheless,
fast pacing and some downright funny moments make the film somewhat
worthwhile, especially for the teen audience.
Malcolm (Martin
Lawrence) is an FBI agent who is a master of disguises ("Mission:
Impossible 2" anyone?). In order for him and his partner, John (Paul
Giamatti), to catch a ruthless bank robber (Terrence Howard), they
have to track down his former girlfriend, Sherry (Nia Long), who
they are convinced had a hand in his most recent theft. She pays
a long overdue visit to her grandmother, Big Momma, who, unbeknownst
to her, is out of town. Malcolm steps in to her very big shoes and
disguises himself as Big Momma, using Sherry as bait to catch his
man. Malcolm falls for Sherry, but he has to keep up his charade
until the real Big Momma comes home (and when she does, look out!).
Imagine "Beverly
Hills Cop," "Mrs. Doubtfire," "Tootsie," and "Jerry Maguire" all
rolled up into one big fat movie, and what you have is "Big Momma's
House." Even though no amount of makeup (which looked better on
Eddie Murphy in "The Nutty Professor") can keep Lawrence from being
the ugliest woman in the world, he still manages to get courted
by some sweet old guy (see "Tootsie"). He falls in love with the
woman he's trying to protect, but his facade prevents him from following
through with his true feelings (again, see "Tootsie"). He bonds
with Long's son in a moment so derivative of "Jerry Maguire," that
even Lawrence's partner can't help but make a comment alluding to
that film. Then there's a tribute to "Love and Basketball," with
Lawrence, dressed up as Big Momma, showing some schoolyard bullies
the real way to play the game (OK, so maybe that's a stretch!).
The film moves
along at the type of hyperactive pace that defines Lawrence's personality,
which actually turns out to be the film's saving grace. Director
Raja Gosnell ("Never Been Kissed") obviously knows how to move his
scenes along, and he keeps the film engaging by distracting you
from it's weaker points. Forget about the fact that the made-up
Momma doesn't look at all like the real thing, even fooling her
lifelong friends. Forget about the fact that Lawrence and Giamatti,
FBI agents, create a costume so lifelike (to them, anyway) that
they could put the folks over at ILM (that's George Lucas' special
effects company) out of their jobs.
After pairing
off with Will Smith in "Bad Boys," Eddie Murphy in "Life," and Tim
Robbins in "Nothing to Lose," Lawrence has yet to find a solo vehicle
that will fully utilize his talents. Just as he did in "Blue Streak,"
he spends so much time overdoing the comedy and acting like a spaz,
that he wears out his welcome and becomes merely annoying. His most
touching scenes--bonding with Long and her son--hint at his potential
to be a strong and charming leading man, but then he suddenly shifts
gears and goes back to being a spaz again.
Noted character
actor Paul Giamatti ("The Negotiator," "Saving Private Ryan") displays
some of the comedic timing that defined his scene stealing performance
in "Private Parts," but it's an otherwise underwritten role. Nia
Long provides for a decent screen presence as the object of Lawrence's
desire, but her acting abilities set her far above some of the juvenile
potty humor that goes on here.
Toward the end
of the film, Lawrence delivers a speech about how "the truth shall
set you free." Maybe he should listen to his own words. Even though
"Big Momma's House" may score with it's target audience, there's
a hint of a fine actor lurking beneath this goofy fall guy. With
a little more time, and certainly with the right vehicle, Martin
Lawrence may yet find the right film to showcase the rest of his
talents.
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