Undercover Brother Review
by John Sylva (DeWyNGaLe AT aol DOT com)July 1st, 2002
UNDERCOVER BROTHER (2002)
Reviewed by John Sylva
The horror of Universal studio executives during the production of Malcolm D. Lee's Undercover Brother was profuse, I'm sure. A look of "Dear Lord" probably fell upon their faces as they heard "Think Austin Powers meets Shaft!" during what had to be one painful pitch session. Shudders of disgust must have ran up and down their spines when the casting director offered, "Eddie Griffin, how would you like to parade around in an afro for 80-odd minutes?" And, by the time these poor souls were witnessing the insertion of The Commodores' "Brick House" in post-production stages, I'm certain these men and women of Universal were desperately seeking a picture to counteract the inevitable box-office bomb that would be Undercover Brother.
So you'd imagine my shock to discover the finished product has defied gravely low expectations, landing itself on a platform with other could-have, should-have been great comedies. But, even so, one still can't help feeling the whole shebang feels like a missed opportunity-especially considering the film has found assets in areas I'd never imagined. Eddie Griffin, a generally grating actor, has found a role with a general likability about him in Anton Jackson, the title afro-sporting, orange-soda drinking undercover brother; screenwriters John Ridley and Michael McCullers both have a few clever race jokes to crack; and Denise Richards brings the same aw-shucks act of phoniness that worked so well in 1999's Drop Dead Gorgeous to her role of the notorious Penelope Snow…
..which makes reporting that Undercover Brother is never willing to establish itself as anything more than a cheap-looking carbon copy of Austin Powers somewhat discouraging. Recalling a second-rate Dr. Evil is Chris Kattan as Mr. Feather, a demented aide to Operation Whitewash, the turning of blacks into whites by means of fried chicken. But, unlike the priceless Austin Powers/Dr. Evil conflicts, Anton's encounters with the unexplainedly strange Feather are less amusing. Likewise, Anton's relationship with sidekick/love interest Sistah Girl (Aunjanue Ellis) comes off as flat, even if Ellis does manage to evoke a soul-sister incarnation of Powers' Vanessa Kensington.
Blame can be cast upon Lee, who seems afraid to set Undercover Brother on any atypical feats. The plot builds itself in a trite exposition/climax/end mold that finds characters in all the action-comedy clichés of false endangerment, threatened relationships, and slapstick action sequences. The director has a script to work with that, while also at fault, is practically teeming with well-observed jabs at a plethora of creeds, which, in a best-case scenario, would have led him to take a fresh approach to the material. But then again, in the film's defense, when's the last time the phrases "best-case scenario" and "Hollywood comedy" were synonymous?
GRADE: C+
Film reviewed June 30th, 2002.
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