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Boomerang
Boomerang
Film credit
Tisha Campbell
Stats
- Episodes featuring their films
- 2
- Movies in this archive
- 2
Rewatchables episodes featuring Tisha Campbell’s films
Displaying all 2 episodes
Mentioned in discussions
What’s Aged the Worst?
Marcus overlooking Angela, Jacqueline’s forced Knicks fandom, synchronized gym routine, the racist clerk, Tisha Campbell’s thin role, fade-to-black edits, and pervasive harassment
In the discussion (7)
Approx. transcript time · 01:32:02Read transcript
- Eddie not realizing Halle Berry was hot for ninety minutes is the first answer. — Bill Simmons
- Jacqueline’s investment in a random Knicks game is called an artificial way to make her seem like one of the guys. — Bill Simmons
- Three friends moving together across identical gym machines feels staged and implausible. — Bill Simmons
- The store clerk’s immediate cash warning is criticized as an abrupt, mechanically inserted racism beat, while another host defends its realism. — Bill Simmons
- Tisha Campbell’s character is described as one-note and possibly present for one scene too many. — Bill Simmons
- Repeated fade-to-black transitions expose a patched-together final act. — Bill Simmons
- The hosts identify pervasive sexual harassment across nearly every relationship as the broadest dated element.
What’s Aged the Best?
Halle Berry’s performance (final first choice), Jeffrey Holder’s ads, the Martin origin story, slang, Murphy’s reactions and clothes, role reversal, Strangé ads, Star Trek riff, Angela’s breakup, and the recovery arc
In the discussion (14)
Approx. transcript time · 01:17:03Read transcript
- Jeffrey Holder makes the deliberately vulgar Kissable ad pitch funny through the character’s sincere disappointment at being restrained. — Van Lathan
- The episode reports that Murphy’s praise of Martin Lawrence and Tisha Campbell helped inspire their pairing on Martin. — Bill Simmons
- “Hammer time” and “the twizzah” remain instantly recognizable bits from the movie. — Bill Simmons
- Murphy’s comic orgasm and Grace Jones’s helicopter entrance are singled out as physical and visual comedy. — Bill Simmons
- Angela is praised as an unusually complete romantic-comedy character whose humor, warmth and natural presence were underused later. — Van Lathan
- The film’s gender role reversal remains clear in how Jacqueline controls the sexual relationship with Marcus. — Bill Simmons
- The first Strangé commercial and Eartha Kitt’s horrified reaction preserve the campaign’s escalating absurdity. — Bill Simmons
- Marcus improvising Spock Jenkins is praised as an early example of casual pop-culture conversation inside a movie. — Bill Simmons
- Angela’s breakup line and real slap give the emotional turn force. — Bill Simmons
- Marcus’s no-tie wardrobe is described as sharp and still wearable. — Bill Simmons
- The loss and recovery of Marcus’s confidence is treated as an identifiable relationship arc. — Bill Simmons
- Halle Berry’s charisma and complete performance receive the final selection. — Van Lathan
- A longer discussion argues Black actors can receive different, often richer opportunities from Black directors, producers and writers. — Wesley Morris
- Berry’s uneven 1990s roles are contrasted with the promise visible in Boomerang. — Bill Simmons
Displaying all 2 discussions
