Barbershop
Barbershop has surprised critics by besting the typically weak movies of early fall, accomplishing what is the movie equivalent of beating up kindergarten kids. It’s healthy and fun, but it’s not something to brag about. Especially not to the cops.
Barbershop is about community and responsibility. Calvin (Ice Cube) hastily sells the barbershop established by his grandfather in 1958 to Lester the loan shark (Keith David). After Lester reveals his plan to turn the barbershop into a strip club, Calvin realizes that the barbershop is not just a business, but a neighborhood institution. He also comes to see the family business as his obligation and as his father’s legacy. These epiphanies prompt Calvin to challenge Lester over the barbershop’s ownership.
Despite a promising premise, Barbershop ruins several scenes with bad writing and cheap shots. Calvin’s wife pledged, “I don’t need the world Calvin; I don’t need Oprah’s house.” Annoying and unnecessary jokes about pop culture icons like Oprah and Captain Kirk spoil many moments, making Barbershop reminiscent of Entertainment Tonight and less of a believable movie about real people. Snide Hollywood references like those should be used cautiously in movies, unlike in movie reviews. Next paragraph.
Stereotyped, straight-out-the-WB-Network characters hurt Barbershop as well. Let’s do a roll call: the rehabilitated convict on his third strike, the arrogant and conservative college guy, the “pretty fly” white guy wannabe, and the naïve and thick-of-accent immigrant. Some scenes seemed like a Fresh Prince/Sanford and Son crossover. Throw in the Taco Bell dog and a morbidly obese gang leader named “Fat Albert” and this movie could be used to teach kids about diversity and eating disorders.
But was it funny? There are many laughs to be had with such an assortment of overused ghetto stereotypes. Lots of comedic skits are worked in through the interaction of the caricatured characters, and Cedric the Entertainer does some stand-up when he lectures the other, younger barbers. Even the most humorless and bitter of Caltech students would be attracted to the film’s dissertation on female proportions. This movie is packed with juicy sexual and racial humor, and is a solid comedy. (If you find sex offensive, Barbershop is not for you. You did pick the right college though.)
What this comedy lacks is humor that comes from actors playing legitimate characters. Believe it or not, skillful acting can be just as funny as impressions or impersonations. The only actual comedic acting was done by Anthony Anderson (Romeo Must Die, Two Can Play That Game), which is unfortunate because his performance is by far the show’s best. In fact, it would be smarter to rent Two Can Play That Game, a better movie than Barbershop that gives Anthony Anderson a bigger part and has a very beautiful female lead (Vivica A. Fox).
Barbershop is a movie best seen on video with friends, food, and beer. It’s a comedy, so you won’t miss any special effects by seeing it on a television and not on the big screen. Plus, movies are always funnier when seen drunk with a group of friends who are gagged with food so they can’t talk too much. If you absolutely need to see a comedy in theaters now, then you probably won’t be disappointed by Barbershop. However, if you’re thinking rationally, this is the time of year to avoid movie theaters, rent videos, and beat up a fresh crop of kindergarten kids.
Barbershop is a respectable flick that features many overweight comedians, proving that John Belushi did not die in vain. Therefore, I give it one Happy, Dead, Fat Comedian:
(Minimum Rating: 3 Sad, Dead, Fat, Comedians. Maximum Rating: 3 Happy, Dead, Fat Comedians.)
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