Showtime
Plot
Here is the movie summary: Showtime is a 2002 American comedy film that spoofs the traditional buddy cop genre by placing two vastly different law enforcement officers in an unlikely partnership for a reality-based TV cop show. The story centers around Detective Mitch Preston (Robert De Niro), a straight-laced, no-nonsense veteran cop who has spent his entire career on the streets of Los Angeles. Mitch's world is turned upside down when he is forced to team up with Chris Collins (Eddie Murphy), a smooth-talking, fast-talking, and slightly unstable rookie cop from South Central LA. The two are brought together by the producers of a new reality-based TV show that aims to capture the "real" cops' experiences on camera. As Mitch and Chris navigate their contrasting styles and personalities, they must also deal with the absurdities of filming a TV show while trying to solve crimes. The duo's mismatched partnership leads to a series of hilarious misunderstandings, cultural clashes, and comedic misadventures. Throughout the film, De Niro and Murphy bring their trademark wit and charm to their respective characters, creating a memorable on-screen chemistry that adds to the humor and charm of Showtime. With its clever blend of cop movie clichés, pop culture references, and satire, this buddy comedy is sure to delight fans of both De Niro and Murphy.
Reviews
Genesis
Adam McKay: a bitter orange at Netflix, a sweet one at HBO. The first episode alone showcases top-tier TV production quality. The script and editing rhythm are first-rate. As for complaints about the visuals, the audiovisual style and form are integral to the meaning and emotional expression of the work. The mixed use of videotape, film, and handheld camera isn't just about recreating a sense of era, but also about expressing the unconscious and restless emotions of that era. Breaking the fourth wall has indeed been overused in Hollywood in recent years, but its use in this show doesn't pose a problem so far, and it constitutes an effective intertextuality with the show's narrative itself. As for whether it can reach the height of *Succession*...
Sage
In the City of Angels, everyone's a bastard. The blend of on-court competition and off-court business in professional sports makes the whole show richer, with the rapid-fire McKay-esque pacing being both loved and loathed. The visual aesthetic really hits my sweet spot: 35mm, Super 8, and analog signals take turns, making the 80s authenticity powerfully intense.
Adrian
The episodes focusing on Jack McKinney and the fictionalized Lakers-Celtics rivalry were excellent. Looking forward to seeing Pat Riley with his signature look next season.
Jace
I can kind of see why Jerry West is suing over this.
Phoenix
Using real people and actual historical events in sports as a framework, the show freely crafts a fictional story within. The character development is three-dimensional, and the series combines excellent business drama with the tropes of a great sports film. Coupled with the legendary nature of the history and figures involved, it's arguably the most entertaining and watchable TV show so far this year. At the same time, almost all the real-life figures portrayed in the series vehemently detest it, claiming the plot doesn't align with what actually happened back in the day. (Everyone knows it's fictionalized, but it's so damn good...). Especially the real Jerry West, who is so angry that he initiated a lawsuit...
Emersyn
"This show really knows how to make 'cops' look bad. A trainwreck of chemistry and bad decisions, it's like watching a car crash in slow motion."
Alice
Despite its exaggerated humor, Showtime surprisingly pulls off a witty parody of buddy cop movies, cleverly senduping the clichés and conventions of the genre. The chemistry between the two leads is undeniable, and their comedic timing makes for an entertaining ride. While not groundbreakingly original, the film's lighthearted tone and amusing take on reality TV make for a fun, if forgettable, watch.
