| 90 |
Washington Post
Boomerang is the funniest, most sophisticated movie of Eddie Murphy's career; it's a sleek, dexterous satire, with a slew of rich comic performances that remind us of everything we loved about Murphy in the first place.
|
| 80 |
Washington Post
Joe Brown
The movie benefits from a stylish, high-gloss look, a hit-filled soundtrack and up-to-the-minute dialogue (there's even a Korean shop-owner joke) that feels winningly off the cuff.
|
| 75 |
Baltimore Sun
Stephen Hunter
The movie then becomes a story of salvation: how Murphy's Marcus, through the love of a better woman (Halle Berry) manages to rediscover both his decency and his humanity. And yet, pretty much, it stays funny. [01 Jul 1992]
|
| 75 |
Chicago Tribune
Boomerang, a sleek, confident and very funny urban comedy that may not entirely overcome Murphy's more discomfiting tendencies, but at least manages to put them to good use. [01 Jul 1992]
|
| 75 |
Chicago Sun-Times
The real surprise of the movie is Eddie Murphy, who finds his character and stays with him.
|
| 70 |
Chicago Reader
The general idea is to exploit a certain amount of role reversal, and Reginald Hudlin, who directed "House Party," does a fairly good job of making this fun.
|
| 67 |
Portland Oregonian
Ted Mahar
It is thoughtful and well enough acted throughout. [03 Jul 1992]
|
| 63 |
Boston Globe
The result is a megabudget "House Party" -- amiable, colorful, filled with glamour and style. [01 Jul 1992]
|
| 63 |
TV Guide
Staff (Not Credited)
More interesting than entertaining and too long by far.
|
| 60 |
Empire
lloyd Bradley
This is cornily predictable stuff, but it raises itself on a number of counts, with Murphy's transformation from a self-assured cocksman to bewildered, lovesick drip being approached with greater gusto than might be expected.
|
| 50 |
Christian Science Monitor
The pace is a little too languid, and the vulgarity a little too frequent, for the movie to work as intended.
|
| 50 |
The New York Times
The funniest parts of this uneven, ostentatiously upscale comedy are those that find Mr. Murphy's Marcus adopting the behavior of a sexually insecure woman.
|
| 50 |
San Francisco Chronicle
Murphy seems committed to pushing his hostile vision, and that in itself is interesting. [01 Jul 1992]
|
| 50 |
USA Today
The movie, though, is more of the same: another current comedy with want-to-see elements that fails to deliver the goods. [01 Jul 1992]
|
| 40 |
Variety
Lawrence Cohn
The film might have worked if the thoroughly selfish characters were striving after something.
|
| 25 |
Rolling Stone
What Murphy's doing isn't acting; it's masturbation.
|
| 25 |
The Globe and Mail (Toronto)
Occasionally, Murphy cuts loose with an ad-libbed riff that's almost funny, but then it's back to the slim-fast plot and the stick-on crudities. [03 Jul 1992]
|
| 10 |
Los Angeles Times
A film that is more listless than funny and could surely use some of the energy that animated both Art Buchwald and Paramount Pictures in the lawsuit surrounding authorship of [Eddie Murphy]'s 1988 "Coming to America." [01 Jul 1992]
|
| 0 |
Austin Chronicle
It's not even funny. Nor does it contain half the wit or charm as the old Doris Day sex comedies it so resembles.
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