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Bad Company: Chris Rock
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Bad Company wants to be everything for everybody, and, while it’s not a lot of anything for anybody, it manages to be just enough of this and that not to be a total waste of time. Fitfully funny but never exciting or engaging, modestly entertaining but excessively dimwitted, and in the end just too darn long, Bad Company is, in a word, relentlessly average. Chris Rock’s one-liners and Anthony Hopkins’s dialed-back delivery are the reasons to see it, but the bad guys, the plot, and the action are dead on arrival.
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Bad Company is one of a handful of bands that literally define Rock and Roll. For 21 years, Bad Company has epitomized a style that values song form and the band concept over the particular of individual solo careers. In the process, Bad Co built itself into one of rock?s most durable and popular touring acts, providing the standard by which such disparate groups as Lynyrd Skynyrd, Bon Jovi and the Black Crowes have publicly measured themselves.
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How is it possible that an arena rock band like Bad Company never left a legit live album in their wake? It certainly wasn't due to lack of touring; beginning with their live debut in Frankfurt, Germany, ...Read full review
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Bad Company's 1974 self-titled release stands as one of the most important and accomplished debut hard rock albums from the '70s. Though hardly visionary, it was one of the most successful steps in the continuing evolution of rock & roll, riding on the coattails of achievement from artists like the Eagles and Crosby, Stills, Nash and Young. From the simple electric guitar lick on "Can't Get Enough" to the haunting bassline in "Bad Company" and the fast beats of "Movin' On," Bad Company exemplified raw rock & roll at its best. Erupting out of an experimental period created by the likes of Pink Floyd, Bad Company signified a return to more primal, stripped-down rock & roll. Even while labelmates Led Zeppelin's Houses of the Holy and IV featured highly acclaimed, colorful album artwork, Bad Company's austere black and white record cover stood out in stark contrast. Six years later, AC/DC used the same idea on their smash Back in Black.
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Anthony Hopkins and Chris Rock join up in the action-packed buddy movie BAD COMPANY. When CIA undercover operative Kevin Pope is killed during tense negotiations for a nuclear weapon, agent Gaylord Oakes (Hopkins) recruits the man's twin brother, Jake Hayes (Rock), to take his place and prevent the bomb from getting into the wrong hands. The problem is that Hayes, a streetwise kid who scalps tickets and hustles people playing chess in the parks, didn't even know he had a twin--and now he has only nine days to learn to impersonate his impeccably dressed, well-educated, well-trained agent brother. Rock is funny in this fish-out-of-water story as Hopkins tries desperately to transform him--something he considers to be an impossible mission. Joel Schumacher, the director of such well-regarded films as TIGERLAND and FALLING DOWN, ups the action quotient as Oakes and Hayes and their determined crew (including Gabrielle Macht) travel to locations ranging from Prague to New York to save the world. Garcelle Beauvais-Nilon, from NYPD Blue, plays Hayes' love interest, and Peter Stormare is the evil Vas.
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The tale that "Bad Company" tries to tell is the tried and not-so-true twins-separated-at-birth gimmick that intros Rock as a high-powered antique dealer, Michael Turner (one of three personas by Rock), living in Prague, Czech Republic. But, that's just a cover for CIA op Kevin Pope, who is in the midst of a tricky arms deal with Adrik Vas (Peter Stormare who, unfortunately, wasn't given enough time to chew the scenery, which may have helped things a bit). Pope is out to purchase a suitcase size nuclear bomb and brings in his "partner," Oakes, as the money man. The deal looks to be a done one until a gang of fanatic Afghani terrorists... bidding for the bomb, decide to get rid of the competition and Kevin dies in a shoot out while protecting Oakes.
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