Chris Tucker’s Danny is proposed as weak link because his friend role overlaps Ronnie’s and his trips from Baltimore strain plausibility, not because of the performance.
Others defend Tucker’s wounded, off-kilter performance, the destabilizing humor of his visits and his jailhouse-lawyer exchange with De Niro; a hoped-for dramatic lead career did not follow.
The chemistry between De Niro and Grodin has aged best, even though De Niro reportedly did not like Grodin much, stayed in character through take after take, and Grodin, probably playing close to himself, kept trying to annoy him; that kind of two-guy chemistry is rarer than you would think.
There are 119 f-bombs in the movie though it feels like 280, especially in the last call to Eddie; the phone call where Farina has Moron Number One put Moron Number Two on while the other guy shadow-boxes the one on the phone is too short to be a rewatchable scene but slays.
McCarran Airport, the saddest place on earth when everyone is leaving Vegas, has not changed since 1988 and makes you want to shout that Serrano has the discs; Grand Central Market in downtown LA still looks much the same, though you could not take a payphone call from a restaurant there now.
Danny Elfman's score (transcribed once as 'Danny Offen's') is like the Bus Boys from 48 Hours doing a soundtrack, one of the best ever despite some people disliking it: it slows down and kicks back in at the right places and sounds like Steely Dan's backing band vamping before Becker and Fagan (as transcribed) walk on; anyone anti-soundtrack is called a moron.
'Looks like I'm walking' is one of the better last lines of any movie covered, especially since walking out of LAX is no fun; the visit to the daughter is one of the favorite De Niro scenes: awkward, he has nothing to ask her beyond what grade she is in, she offers him money as he leaves and he cannot take it, and then he holds the door of his wife's station wagon so Grodin's coat does not get caught, every beat graded A plus.
The weird sentimental moments may be what has aged best, with several unexpectedly poignant beats including the ending; a tangent on the greatest De Niro scenes names the Godfather 2 killing, moments in Cape Fear, the Goodfellas slow-motion smoking shot at the bar, nearly every scene in Heat including the diner, and many in Deer Hunter and Taxi Driver, while Raging Bull is now a tough, one-and-out watch.
Asked at the end what was said for what aged best, the recap is the poignant moments and Danny Elfman's music; the chemistry, the last line, the unchanged settings and the profanity were raised along the way.
Chris Tucker is named immediately, the name coming twice in quick succession with 'come on, man' agreement that it is obvious; one host says it pains them that his career is not in the shape it should be.
Next Friday and Friday After Next starred Mike Epps, and a Last Friday has been hoped for for years; original cast members say Tucker is why it has not happened, his pay scale rose, and in his defense he probably does not want to play a weed-smoking delinquent at forty, though the character could be evolved.
A gritty reboot and 'Christopher Nolan's Friday' are joked about; the hosts watched Next Friday but not Friday After Next, and barely the animated series; Tucker has cryptically suggested interest in recent interviews now that his pay scale is down.
Rush Hour 4 is also in the works with Tucker on the fence and Jackie Chan as the Ice Cube trying to get him there; the hosts would take Rush Hour 4 over Last Friday a thousand percent, since Chan and Tucker could reprise older versions, while Friday is quintessentially youthful and would be weird with 45-year-olds on the porch.
Questions a sequel would raise, kids, still smoking, or flipping Smokey straight and Craig into the pothead, are floated, but what people want from sequels is an extension of the original, which would have to change too much to work, so leave Friday be; Rush Hour 4 should just avoid the mistakes of Lethal Weapon 4.
At the top of the show, with no spoilers on who won, Tucker is said to dominate everyone's attention as soon as he appears on screen.
Rather than read fifteen minutes of quotes, each host gives a favorite; the first is 'you ain't got to lie, Craig', said by Joy when she accuses Craig of infidelity, funnier on an adult rewatch because she has a man in bed with her while saying it, making her a hypocrite.
Smokey's last line, when he is supposedly going to rehab for weed, is to face the audience and say he was just bullshitting, which bursts the after-school-special feel and brings everything together.
Another favorite bit is Smokey, after Deebo has punched Red and Red has sulked off, telling Craig he has mind control over Deebo: when Deebo talks he goes quiet, and when Deebo leaves he talks again; Smokey has so many that one host goes with 'and you know this, man', and lines like 'you ain't gotta lie, Craig' and 'Bye Felicia' live on in memes, with Tucker carrying bits into the Rush Hour movies.
Bernie Mac's pastor scene and the 20, 20, 20 call and response are flagged as amazing; with all of them best quotes, the award goes to all of them.
Chris Tucker's smoking looks fake while Craig's looks real; Cube's voiceover appears only twice; the pivot to the message and Witherspoon's speech is inelegant; the drive-by feels unnecessary to one host; Debbie's attraction to Craig is unearned; Felicia as the roving crackhead type; the credits spell the name Felisha; the $200 Big Worm plot is not urgent
Chris Tucker's smoking does not look right: he holds the smoke in his mouth, the telltale sign of a non-smoker, while Craig, the supposed non-smoker, actually inhales and exhales; it is noticeable when Craig takes the joint and leans back, but not off-putting, and a first viewing before ever smoking would not catch it.
Cube's voiceover appears at the beginning and once in the middle, when they go to rob the house next door and he says not to always get him into shit, then never returns; it feels like a detective-noir intrusion they forgot to cut.
The film flips around the hour mark into Witherspoon's speech after Chekhov's gun; F. Gary Gray is quoted wishing there were more of a transition to the message, which crashes in and is inelegantly executed, and a host agrees the film pivots into an after-school special when the gun and the drive-by arrive.
The events in the movie could stay the same; what makes it feel after-school is John Witherspoon's speech. — Justin Charity
The speech about not needing a gun and taking an ass-whipping is played; the fix proposed is an acted rather than spoken vehicle for Witherspoon, not a black-and-white flashback of a younger Witherspoon losing a fight, but a pensive beat as Cube confronts Deebo before dropping the gun and decking him, a scene instead of a speech.
One host did not mind the speech much, only because of loving Witherspoon giving it; the drive-by, with Uzis spraying and people jumping on cars, felt unnecessary to that host, while another counts it among favorites because it is so sharp and sudden in a laid-back stoner movie, even if poorly lit at night, a last-minute reminder that things are still real.
A final nitpick asks whether Debbie would be that attracted to Craig when he did little to earn it, with the joke that it was conveniently written into the script by Cube; a prior neighborhood relationship blossoming is believable.
Debbie falling for Craig over one day is not believable, so the ending feels unearned and abrupt even though it is only her saying she will call tomorrow, a reminder that a man, specifically Ice Cube, a first-time screenwriter, wrote it.
Felicia, and the Bye Felicia meme, prompt the observation that many nineties movies have a roving crackhead character, often a light-skinned woman, used for comic relief and pathos, begging for money with an uncomfortable sexualized undertone.
The real nit is the spelling: the credits spell the name Felisha, so everyone writing 'Bye Felicia' is spelling it wrong, and they should check IMDb, or do half-assed internet research.
Early on, before nits were officially open, the $200 owed to Big Worm was called neither urgent nor necessary as a plot device, answered that it brings amazing lines and confrontations and Faison Love (as transcribed) in hair curlers.
Cube: no, but close; the film is a memento of the best of Cube, who went on to Three Kings, Barbershop and several Kevin Hart movies yet has made no better movie than Friday, so it might be his apex as an actor, though Three Kings has him in a supporting role and this is Cube's movie only in a constitutional sense since it plays as a Chris Tucker vehicle.
Barbershop is defended as low-key really good; Friday is not Cube's commercial or stardom peak but the peak of him balancing the realistic gangster figure and the softer comedy type, the crux and pivot point of every angle of his career, the one movie that holds all his multitudes.
Chris Tucker: the question is whether he is better here than in Rush Hour or The Fifth Element, with the caveat that calling anyone's apex their early twenties is cruel; Rush Hour 2 Tucker is judged better, leading the movie and hamming it up ten degrees higher, with the outtakes credits and the gefilte fish rant as peak, which is allowed.
John Witherspoon is proposed since the others stalled; he has been in a ton of movies, was the dad on The Wayans Brothers and granddad on The Boondocks, but this is still called peak Witherspoon (transcribed 'Pete Witherspoon'), with the bathroom scene, the food scene and the gun speech cited; one voice says it feels comfortable with that while reserving the right to reset later, and nobody objects.
Shot on F. Gary Gray's old block at 126 and Normandy (as transcribed), with the Red knockout in front of his childhood house; Gray directed Cube's It Was a Good Day video; a Crip neighborhood, so nothing red appears; clothes from the Slauson swap meet; cast paid about $5,000 each on a $3.5 million budget that grossed $27 million; Kathleen Bradley was the first Black Barker Beauty; Smokey's 1976 Ford Pinto was spotted on Western Avenue with the lockup sound added in post; Chris Tucker ran uninvited into the knockout shot; Anthony Johnson drew on relatives for Ezal; Craig's firing was based on Cube's UPS cousin
The movie was shot on director F. Gary Gray's old block, where he lived in junior high, 126 in Normandy (as transcribed), and the scene where Deebo knocks out Red is in front of the house Gray grew up in; asked whether Gray ever owed someone $200 or knew a Deebo, the answer is that he directed but did not write it, and it is mostly Cube.
Gray directed Cube's It Was a Good Day video and other Cube videos, which is how they connected; the neighborhood is a Crip neighborhood, so nothing red appears to avoid the ire of local gangs; nearly all the clothes were bought at the Slauson swap meet, where a host used to go.
According to John Witherspoon the cast all got paid around $5,000 each, some of it reportedly out of Cube's pocket; the budget is put at $3.5 million against $27 million grossed, with mostly unknown actors; the hosts wonder about residuals and feel Witherspoon should eat out on the film forever, which he pretty much does.
Kathleen Bradley, Miss Parker from across the street, was the first Black Barker Beauty on The Price Is Right and was spotted there by a casting director; Smokey drives a 1976 Ford Pinto, called the best character and the ugliest car ever in a movie; Gray saw it on Western Avenue and knew it was Smokey's car, and the lockup sound was added in post.
The best shot of the Pinto is the slow shot of Smokey parking in front of Craig's house after the store where the crackhead gets him to buy a 40, the one long look that shows how broken the car is and makes the broke character feel real; a host relates, having grown up driving a 1989 Nissan Pathfinder despite being born in 1987.
Chris Tucker was not originally in the 'you got knocked the fuck out' scene and just ran into the shot, all the more reason nobody else could have played the role; Anthony Johnson, who played Ezal, drew on a brother and sister who were on crack, which is dark but may have fed a more compelling performance.
From Wikipedia: Craig being fired on his day off was based on Cube's cousin, who worked for UPS; a host believes it, calling UPS and USPS evil organizations, which draws the joke about beef with the mail and a Stamps.com ad.
Picking one scene is called difficult because the first hour is basically a rewatchable hour; Craig getting high is nominated first, since you wait the whole movie for him to finally take a puff, and Smokey's angel dust flashback is noted as funny but a little problematic.
Red getting his chain snatched by Deebo is nominated as the classic bully scene: when Deebo approaches, Smokey rips his own chain off and puts it in his back pocket, while Red only tucks his in and says so, which is not thorough at all; the Bernie Mac pastor scene and Bye Felicia are also nominated.
The first hour is a procession of immaculate character bits that happen on the stoop over one day rather than discrete scenes, so a line like 'you ain't got to lie, Craig' is a memorable quote, a fifteen-second bit, not a rewatchable scene.
Craig getting high works because Cube underplays it: body language shifts, chuckling, offering to make Kool-Aid, weird non sequiturs rather than Smokey-style running in front of a car; it is a progression over fifteen minutes rather than a scene, and a vulnerable, goofy Cube is striking after years of scowling, with the Cypress Hill cue a little on the nose.
One vote goes to Red getting his chain snatched by Deebo because it has a lot of moving parts: Deebo, Red's cameo, and Cube and Smokey reacting to Deebo; another vote goes to the Craig scene, not for Craig but for Smokey's Michael Jackson-style dancing, possibly the start of Chris Tucker moonwalking in every appearance, which got him into a Michael Jackson video.
A second vote joins the Red pick in a garbled exchange that addresses Charity and pairs the name with 'Craig getting that', so which pick Charity proposed is unclear; the Craig-scene voter stands alone; the Red scene's moving parts are the core of the movie and set up its end game, and Deebo is loved.
Tiny Lister was known as a wrestler in the WWE and appeared in the Hulk Hogan movie No Holds Barred, so he was one of the more famous people in the film after Ice Cube; Deebo is indelible, Lister in interviews is just Deebo, though behind the scenes he is reportedly gentle and sweet and gets joked on, a huge man blind in one eye who lumbers through the movie creating havoc.
F. Gary Gray mopping in the deli scene; Megan Good (as transcribed) in the opening and the ice cream truck scene with Big Worm; Michael Clark Duncan (as transcribed) shooting dice in the Red knockout scene; Dub C as the drive-by shooter
A host coins a non-canonical category, Cameo Corner, for blink-and-miss appearances: director F. Gary Gray, who one host thinks bears an uncanny resemblance to Chance the Rapper and another does not, is mopping up in the deli scene.
Cube, Tucker and F. Gary Gray were all in their early-to-mid twenties, Tucker about 23 and Cube and Gray 24 or 25, so the film is the output of young creative people.
Megan Good (as transcribed) appears in two scenes, the opening and the ice cream truck scene with Big Worm; Michael Clark Duncan (as transcribed) is shooting dice on the sidewalk in the scene where Red gets knocked out, on screen for about a second, and reportedly wanted a speaking role; the others had never noticed him.
The drive-by shooter is identified as Dub C even though the scene is dark, on the strength of a host knowing rappers and later verifying it, teased as the Donnie flexing section; the music cue there, Pay Your Dues by Low Profile, is praised.
The script was written with DJ Poo (as transcribed) as Smokey, but New Line would not sign off because he was not a big enough star, which one host calls a smart move; Chris Tucker, not yet established but on the rise, auditioned for Cube and the rest is history.
Pooh as Smokey would not have worked, but he killed it as Red, a lovely part, especially the way he jangles back to the car after asking about his beach cruiser.
Tommy Davidson and Chris Rock were also considered for Smokey; Rock is rejected as too New York, more famous than Tucker in 1995 but not computing in the role, and his doing Tucker's physical comedy would look like overacting, Tucker reading as a younger, more exuberant spirit where Rock can be hardened.
Tommy Davidson was also supposed to play the crackhead Ezal; Angela Means, who plays Felicia, has said her agents wanted her to pass because she was so pretty and should have played the pretty girl, which one host finds fair.
A hypothetical recast: Viola Davis as Mrs. Jones, the comedic but strict mother Anna Maria Horsford plays; Davis rarely gets comedic, motherly roles and is pushed into intense crying parts, so the hosts wonder what the role would have looked like with her in 1995 or in a reboot, though whether she was old enough twenty years ago is questioned.
