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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

'Tony' offers a revealing look at Anthony Bourdain before fame

Alex Bentley
Aug 20, 2026 | 10:28 am
Antonio Banderas and Dominic Sessa in Tony
Photo courtesy of A24
Antonio Banderas and Dominic Sessa in Tony.

The reason that most biopics fail is because they try to do too much, telling a “cradle-to-grave” story or one taking place over a long period of time that only scratches the surface of understanding the full measure of a particular person. A better approach is the one taken in the new film Tony, which uses a formative period of time in the life of Anthony Bourdain to identify a larger truth about him.

The film finds Tony (Dominic Sessa), as he liked to be known at the time, in his early college years, trying to BS his way through life. He tells lies to professors, his parents (Dagmara Dominczyk and Rich Sommer), his old classmate Nancy (Emilia Jones), and even himself in an attempt to skate by without actually doing anything.

When one con falls through, he follows Nancy to Provincetown, Massachusetts to try to find her. A series of events result in him getting drunk in a restaurant owned by a chef (Antonio Banderas), who takes him in. Tony starts working as a dishwasher and hanging out with Sal (Leo Woodall), who barely has his own act together. With no other options, he spends his summer on Cape Cod, hoping something will happen to change his lot in life.

Written and directed by Matt Johnson (Blackberry) and co-written by three others, the film gives barely a hint of the man who would go on to become a celebrity chef and acclaimed author. It does indicate that his brashness was always there, but this Tony is aimless and too often rash in his decision-making. His biggest success in the film only comes when he finally recognizes that lying has brought him nothing but misery, and that telling the truth, even if it’s painful, sets him free.

The restaurant at which Tony works, the now-defunct The Flagship, is the heartbeat of the film, containing a motley crew of people who bond over slinging mostly mediocre seafood. Johnson evolves Tony’s relationship with the chef (who’s never given a proper name) into a strong one as Tony spends each night in a hammock on the chef’s porch, only to be woken up each morning with a pot of water thrown in his face.

Tony continues to pursue Nancy for most of the film, and even though their relationship is not fruitful in terms of storytelling, it serves to enforce the mindset of the young man. Nancy only exists as an object of desire for Tony, with just the barest touch of an interior life of her own. While the intent of including a romantic interest for Tony makes sense in a way, it ultimately is the weakest part of the film.

Sessa, who made a bold film debut in 2023’s The Holdovers, has turned into one of the industry’s bright young stars. He embodies the moodiness of Bourdain, stalking around the town with a scowl and lanky walk that tells the audience everything they need to know about the character. Banderas and Woodall (Tuner) bring different types of great energy, and while Jones’ part is not great, she proves that - following CODA - she’s going to be around for a long time, as well.

Fans of Bourdain may lament that Tony doesn’t show anything from the years in which he became famous, but the small and personal film makes a great case that the period it depicts is equally significant to his life. It demonstrates that Tony’s summer on Cape Cod gave him some direction, a reason for being that allowed him to become who he eventually became.

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Tony opens in theaters on August 21.

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