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    Movie Review

    Coming 2 America offers fun nostalgia trip but little else

    Alex Bentley
    Mar 5, 2021 | 12:24 pm
    Coming 2 America offers fun nostalgia trip but little else
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    The nostalgia for everything related to the 1980s has been in high gear in recent years, popping up in everything from Netflix’s Stranger Things, Steven Spielberg’s Ready Player One, and reboots of multiple ‘80s properties. Now, on the heels of the return to the Bill & Ted franchise with the original actors, comes the long-awaited sequel to Coming to America, appropriately titled Coming 2 America.

    Thirty-three years after the original, Prince Akeem (Eddie Murphy) of Zamunda is still married to Lisa (Shari Headley), and he now has three daughters, Meeka (Kiki Layne), Omma (Bella Murphy), and Tinashe (Akiley Love), which puts a crimp in the tradition of having a male heir inherit the throne. Akeem’s ailing father, King Jaffe Joffer (James Earl Jones), surprisingly informs him that he conceived a son during his initial trip to America, sending him on a trip back to Queens to find his son and bring him back to his rightful home.

    While the plot involving the son, Lavelle Junson (Jermaine Fowler), starts off promising enough with hilarious introductions of Lavelle’s mom (Leslie Jones) and uncle (Tracy Morgan), things devolve upon the return to Zamunda. Fans of the original film will find some striking similarities in the two films' plots, with Lavelle traveling almost exactly the same road as Akeem, but in reverse.

    Directed by Craig Brewer, who also helmed Murphy’s Dolemite is My Name, and written by Barry W. Blaustein, David Sheffield, and Kenya Barris, the film offers plenty of callbacks to the first film but little of substance for the sequel to stand on its own. Instead of finding an interesting way to involve Akeem’s three daughters, the story falls back on most of the same jokes that it made the first time around.

    That’s not to say that those things aren’t funny, but there’s only so much pleasure to be had out of rehashing McDowell’s/McDonald’s jokes or seeing Murphy and Arsenio Hall pull quadruple duty as multiple characters. They do some things right, though, including giving Jones and Morgan room to roam, a lavish scene that involves cameos by Morgan Freeman, En Vogue, Salt-N-Pepa, and Gladys Knight, and multiple appearances by Trevor Noah as a Zamundan newscaster.

    But those pleasurable moments are few and far between, with most scenes sticking to elements that involve very little effort for either the filmmakers or the audience. On the plot side, it seems like the filmmakers want to have their cake and eat it too, giving lip service to Meeka and her ambitions while still focusing on the antiquated story about Lavelle. Lavelle is shown to be conflicted about his new role, but the approach of the film never sells this aspect.

    Murphy (and, to a lesser degree, Hall) is obviously the main draw, and much like the film as a whole, his presence is enjoyable but not impactful. Akeem is not as over-the-top as some of his other roles, and seeing him as a dad makes him recede even more. The filmmakers missed a real opportunity in not giving Layne, who impressed in both If Beale Street Could Talk and The Old Guard, more to do, as she’s much more dynamic than Fowler.

    Coming 2 America is far from a disaster, but it doesn’t deliver anything more than surface fun for those who still remember and love the original film. Nostalgia has its place, but it needs to be complemented by something new and meaningful, and that part is all but missing here.

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    Coming 2 America is streaming exclusively on Amazon Prime Video.

    Arsenio Hall and Eddie Murphy in Coming 2 America.

    Arsenio Hall and Eddie Murphy in Coming 2 America
    Photo by Quantrell D. Colbert/Amazon Studios
    Arsenio Hall and Eddie Murphy in Coming 2 America.
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    Movie Review

    Great acting and directing drive The Christophers to artistic heights

    Alex Bentley
    Apr 17, 2026 | 1:59 pm
    Michaela Coel and Ian McKellen in The Christophers
    Photo by Claudette Barius
    Michaela Coel and Ian McKellen in The Christophers.

    Director Steven Soderbergh is one of those filmmakers who — aside from the Ocean’s series — never seems to make the same kind of movie twice. He is somehow able to adapt his abilities to all sorts of different stories, making each of them as compelling as any other. His latest masterclass is in the London-set film, The Christophers.

    Lori Butler (Michaela Coel), who restores art for a living, is approached by brother and sister Sallie and Barnaby Sklar (Jessica Gunning and James Corden) with a scheme. They want her to become the new assistant for their aging father, Julian (Ian McKellen), a famous artist known for a series called “The Christophers,” in order to gain access to unfinished paintings from the series and complete them herself.

    Lori accepts the deal despite having some uneasy feelings about Julian, with whom she had a bad interaction years ago. Julian is just as wary, both because he knows of his children’s interest in the unfinished works, and because he would prefer to be left in peace. Although the trepidation on both sides continues for the bulk of the story, a grudging respect arises between two artists who know skill when they see it.

    Directed by Soderbergh and written by Ed Solomon, who last collaborated on No Sudden Move, the film is astonishing in its ability to be compelling with such a small story. Much of the film is spent inside Julian’s multi-story home as Julian and Lori have low-level confrontations about a variety of things, including the meaning of his art, her abilities, the fate of the remaining “Christophers,” and more. Each conversation brings out more detail about their worldviews and their thoughts about their lot in life.

    Much of the success of the film lies in the performances of McKellen and Coel. The 86-year-old McKellen has not lost his ability to astonish with the spoken word, and the monologues he delivers are engrossing even when they’re about mundane things. Coel, best known for the 2020 HBO show I May Destroy You, is a great foil for McKellen, never backing down from his challenges and giving her own unique takes on her lines.

    While the film can be enjoyable for non-art lovers, those who appreciate the vagaries of the art world will have a lot to chew on. Soderbergh and Solomon debate a lot of aspects of art, including whether it’s possible to separate the art from the person making it, why some art is valued more than others, the ethics of forgery, and more. Because the film is about a fictional artist, it gives the filmmakers a bit more freedom in their criticisms.

    Aside from McKellen and Coel, Gunning (Baby Reindeer) and Corden are the only other two people who get significant screen time in the film. Both of them are, let’s say, acquired tastes, and each gives an elevated performance that matches the energy of their respective characters. Tilly Botsford makes a nice impression in a small role as Julian’s masseuse.

    Soderbergh’s last three films — Presence, Black Bag, and now The Christophers — have nothing in common other than the expert filmmaker helming all of them. When you can make a ghost story, a spy film, and a small film about artists equally interesting, you know you’re doing something right.

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    The Christophers is now playing in theaters.

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