That was an excellent one.

Sorry, this movie sucks

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

One of the worst ways to make a cult movie is to set out to make a cult movie.

In the mid-1980s, Richard Pryor's longtime drug addiction began to affect his physical appearance, he began to look sickly and pretty frail on screen. Despite the fact, this was Pryor's last starring role in a feature film. This comedy has quite a few laughs.Arlo Pear is a mild-mannered engineer from New Jersey who is given a new job position in Boise, Idaho. His family is not happy with the idea, but have no choice but to go with it. Unfortunately, things fall apart quickly: their teenage daughter tries to sabotage every open house that happens, the three movers hired to transport the belongings to the new house actually steal them, and Arlo hires a young man with multiple split personality disorder to drive his priceless Saab to the house. The cameos in the film are worthwhile, as well. Randy Quaid as crazed army veteran neighbor Frank. Dave Thomas as Arlo's friendly boss, Rodney Dangerfield as a loan officer with a serious gambling problem, Morris Day as a young man smitten with Arlo's daughter, and Dana Carvey as the multiple personality maniac.Definitely worth watching.

A sad look at the waning talent and life of Richard Pryor.Rife with clumsy setups, lead-balloon jokes and worn-to-death clichés, this movie is a snooze-fest from beginning to end.There is a reason this movie is not even on DVD: there is not demand for this dreck. I only stopped by to write this review as a warning to others not to get suckered into watching this film like I did, simply because it has Richard Pryor's name on it.Ice Cube's role in "Are We There Yet" is to his rapping career as this movie is to Richard Pryor's comedy legacy.

Richard Pryor struggles mightily with the forced, weak, idiotic material in "Moving". After each effort at generating laughs, there seems to be an uncomfortable silence as the audience consistently remains silent, or worse yet, sighs at this unbelievably unfunny movie. Vacilating wildly between slapstick and just plain nonsense, there are no more than two chuckles, and it leaves you feeling almost embarrassed for having watched. Do not be misled by the token appearance of Rodney Dangerfield, because he is almost totally wasted, and Randy Quaid's character is so repetitively abrasive, he quickly becomes boring. Very definitely not recommended. - MERK

In the '80s Richard Pryor jumped the shark with THE TOY, which kicked off a string of forgettable films. Ranging from awful (SUPERMAN III) to merely mediocre (CRITICAL CONDITION), his Reagan-Bush output didn't produce anything decent until he reteamed with Gene Wilder for 1989's SEE NO EVIL, HEAR NO EVIL (which, granted, was no classic). MOVING wasn't his worst movie, but it certainly didn't help his career. Playing a meek suburbanite, Pryor's raw comedic persona was castrated with a silly name (Arlo Pear???) and a bland, inoffensive script. Watch him in this movie and note how defeated he appears. In a decade Pryor went from STIR CRAZY and BLUE COLLAR to a feature-length sitcom that could have starred anybody.That's not to say MOVING is without merits. It provided Dana Carvey with his funniest role that didn't co-star Mike Myers, and Randy Quaid (a good actor who can do comedy as opposed to a good comedian) earns a lot of laughs here in a dual role. But the efforts of the supporting cast are wasted by a script that should have gone through more re-writes. A comedy about moving your family across the country could find a lot of humor in the small but countless frustrations that can happen when undertaking such a challenge. Instead of wringing laughs from human foibles, here we've got stupid professional movers who do things to be funny, therefore making what they do unfunny. That old guy wrapping every toy separately? The other guys breaking furniture and taking a side trip to New Orleans? It's dumb, and not believable, and not funny. (However, Carvey acts like he's in a whole 'nother--and better--comedy. I gotta admit: his shtick in drag was hilarious.)The movie has structural problems too. It spends half the movie packing their things and dealing with the slob neighbor, and -- bam! -- it jumps to the family's new home. What happened during the 3000-mile drive to get there? Did the kids get on the parent's nerves while cooped up in the back seat the whole time? Surely there are possible cross-country mishaps that weren't already explored in NAT'L LAMPOON'S VACATION, right? (One minor thing. What road did they take out of Jersey? They're on some blacktop with a sign stating they're leaving the Garden State. Um, don't they have to cross the Delaware River to enter Pennsylvania?)And I wonder if a black family from Jersey would assimilate so easily in suburban Idaho. Since anybody could have been cast in the role, was this movie written with Pryor in mind? Doesn't seem so, since this family is white in every way except skin color. Their closest friends are an elderly white couple, and their daughter, played by Stacey Dash, appears to have blue eyes (leading me to believe she should have been cast instead as a Wannabe in Spike Lee's SCHOOL DAZE). Forgive me for raising racial issues in a lightweight '80s comedy, but wouldn't this affluent black family from the East Coast have any reservations about relocating to Aryan Nation? A 1990 census shows that Idaho was over 94% Caucasian while Blacks made up less than one percent around the time the movie was made. (American Indians, at 1.3%, were more represented.) Wouldn't this have been a factor in their decision to move there? Finally, for a movie that's barely ninety minutes long, MOVING coughs and wheezes to the closing credits. It somehow feels both overlong and too short, if that makes sense. And there's a chase scene to wrap things up. A chase scene to end a bad comedy? What else is new?