Cast:
LL Cool J...............Ray Bud
Vivica Fox..............Lucille
Whoopi Goldberg.........Raynelle Slocumb
Jada Pinkett Smith......Charisse
Loretta Devine..........Marguerite
Toni Braxton............Juanita
Cedric the Entertainer..Reverend Hooker
Anthony Anderson........Junior
Darius McCrary..........Royce
Directed by: Doug McHenry
Rated PG for thematic elements, language and sensuality
There's
really nothing wrong with a story's narrative arc being obvious
at the outset. In fact, sometimes it can be a great help in
facilitating a movie's message. But when the message itself
is obvious at the outset ... well, that can be rather damaging,
especially if the filmmakers don't layer their story with
additional elements of growth. "Kingdom Come" is a prime example
of the latter. It's certainly not a bad movie. My only problem
was that after the first five minutes, I knew where it was
headed and what message was going to be conveyed. Sadly, I
spent much of the film's running time waiting for the story
to catch up.
The
film uses the somewhat reliable yet very familiar premise
of an extended family having to come together when the patriarch
suddenly loses his life to a stroke. We are introduced to
each household as their disfunctions are displayed with over-the-top
zeal. There's Ray Bud (LL Cool J) and his wife Lucille (Vivica
A. Fox). Ray concerns himself more with the monetary implications
of the funeral as a way to mask his emotional difficulty in
handling the loss. The couple are also heavily feeling the
effects of a recent miscarriage. And he's not looking forward
to the arrival of his brother's family.
His
brother, Junior (Anthony Anderson) is like a magnet for bad
luck. His career has basically been a series of failed moneymaking
schemes. Now he's broke with three kids to feed, and his histrionic
wife Charisse (Jada Pinkett Smith) periodically unleashes
vitriolic diatribes letting him know how unreliable her husband
has become.
Meanwhile,
the scripture-quoting Marguerite (Loretta Devine) is growing
increasingly furious at her son Royce (Darius McCrary) for
his lack of lucidity with regards to his life direction. At
this point, his only future goal is to settle down with a
nice young woman and have a few kids ... so he may get on
welfare.
At
the center of this disfunctional tree is the widow, Raynelle
Slocumb (Whoopi Goldberg). Her only request is for the phrase
"mean and surly" to be etched on her late husband's tombstone.
The quirks of this family will conspire to wreak havoc on
the funeral proceedings while the family must look beyond
their differences to uncover the necessary life lessons.
The
film wants to combine bouts of raunchy comedy with moments
of sentimental insight, but telegraphing its heartfelt message
at the outset causes the story to sink or swim with its varied
bits of humor. Some of it works, some of it doesn't. The screenplay
does contain some very funny lines. ("It's good that he went
quickly," an overly-sympathetic and intoxicated friend says
to the disinterested Raynelle. "That's how I'd want to go
... quick," to which she replies, "That's what I'd want for
you, too.") But some elements aren't as effective, including
the decision by gifted funnyman Cedric the Entertainer to
employ a lisp for his role as the Reverend. It's mildly amusing,
but quickly wears thin.
Beneath
the hit-and-miss humor lies the movie's benevolent message.
Because many of us spend so much time struggling with the
reasons behind our most potent feelings, we sometimes fall
victim to judging ourselves for the emotions that occasionally
subjugate our psyche. Being comfortable with our own insecurities
is certainly a frustrating contradiction, but one that has
permanently set up shop in the human condition. I admired
the movie's need to convey the above notion, I just wish it
hadn't hit me immediately after the opening credits.
Copyright
2001 Michael Brendan McLarney
Critically
Ill
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