Chris Tucker is a powerhouse in his own right because he has mastered juggling his roles as an actor and comedian both on and off camera. Before going on to create legendary moments in blockbusters like House Party 3, Friday, The Fifth Element, Money Talks, and more, the Atlanta native got his start on HBO’s Def Comedy Jam in 1992.

August 31, marked Chris Tucker’s 52nd birthday. Celebrity News recalls five of the actor’s performances that highlight his range.

Five films that shows Chris Tucker’s range

‘Rush Hour’ Films

The Rush Hour movies are infamous for giving rise to amusing catchphrases that fans still use today, such “Do you understand the words that are coming out of my mouth?”

Without a doubt, the on-screen chemistry between Tucker in the role of Detective Carter and Jackie Chan in the role of Detective Lee was unique but brilliant. The movies received numerous nominations and nods, including a 1999 MTV Movie Award for Best Onscreen Duo and a 2002 Golden Raspberry Award for Best Fight for the sequel.

Tucker portrayed a jocular and perhaps too ambitious investigator who wanted to not only solve a crime but also become friends with his “standoff-ish” colleague. Both actors dazzled the audience with their quickness and tricks, albeit Chan performed many of them alone because Tucker had a stunt double.

Tucker and Lee’s characters developed a fraternity as the movies went on, which is easily translated to their connection off-screen as well.

‘Air’

Tucker hadn’t appeared on a major motion picture since Billy Lynn’s Long Halftime Walk in 2016. Air was his first appearance. Tucker played Howard White, vice president of Jordan Brand, in the serious part in the Ben Affleck-directed movie.

In contrast to many of the comedic roles that we’ve seen Tucker play, Air gave him the chance to display a more businesslike side as he channeled the 78-year-old executive. The popular sports apparel brand Jordan’s ascent and the formation of its foundation are the subjects of the sports drama.

‘The Fifth Element’

Chris Tucker played DJ Ruby Rhod, a flamboyant and androgynous radio personality who was caught in the crossfire of space invaders in the futuristic sci-fi movie The Fifth Element from 1997.

With a global gross of almost $263,920,180, Tucker added a humorous touch to the action-packed movie, and his lines were all made funnier by the high pitch of his distinctive voice. His character’s appearance was similarly unexpected; he had body-hugging blonde hair and a leopard-print outfit that defied gravity.

‘Money Talks’

Chris Tucker plays Franklin Hatchett in the movie Money Talks, a “fast-talking small-time car wash hustler and ticket scalper who owes money to a local mob leader,” according to TV Tropes.

Charlie Sheen, who is both humorous and disturbed these days, co-stars in the film with Tucker, whose character ends up in jail after nearly confessing to a crime on tape while conversing with investigative journalist James Rusell. Tucker does an excellent job of portraying Franklin since the part gives him the freedom to use exaggerations and phrases to his fullest potential.

The movie made $48.4 million globally.

‘Friday’

Chris Tucker is most known for his part in the movie Friday, in which he played the always-high, pot-loving, small-time herb-seller character named Smokey.

As Tucker brought his role to life and gave Ice Cube’s cool and collected persona a brilliant dynamic, Friday gained cult status. Smokey has a ton of memorable quotes throughout the movie, one of which is, “I know you don’t smoke weed, I know this; but I’m gonna get you high today, because it’s Friday; you ain’t got no job… and you ain’t got sh*t to do.” Smokey also has a ton of other memorable quotes throughout the movie.

The movie, which was helmed by F. Gary Gray, eventually made over $27,000,000 worldwide. The movie received two sequels, Next Friday (2000), starring Ice Cube and Mike Epps, and Friday After Next (2002).

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The producer of Ethan Hawke’s new movie, Pedro Almodóvar’s romantic western Strange Way of Life, put together his clothing, which he wore down the red carpet at Cannes this summer before the premiere of the movie.

Strange Way of Life is the first work produced by Saint Laurent Productions, the prestigious fashion house’s brand-new film production division. Anthony Vaccarello, the creative director of Saint Laurent, is in charge of the young company, which has films in the works from a talented roster that includes David Cronenberg, Wong Kar-wai, Paolo Sorrentino, Jim Jarmusch, and Gaspar Noé.

Strange Way of Life is far from the first endeavor of its kind, despite the fact that Saint Laurent may currently be the only fashion house with an internal film studio. The Staggering Girl, directed by another well-known auteur with a swanky European aesthetic, Luca Guadagnino (Call Me by Your Name), had its world premiere during the 2019 Cannes Directors’ Fortnight. The film was supported by Valentino. Similar to this, Chanel, whose lifelong ambassador Stewart is, contributed to both of Olivier Assayas’s celebrated projects with Kristen Stewart, Clouds of Sils Maria and Personal Shopper. And Giorgio Armani’s involvement, which is acknowledged in the movie’s opening credits, helped make Louis Garrel’s The Innocent, which was released this month, feasible.

Film has, of course, always had a close relationship with fashion because it can capture the sweep and sway of clothing in a way that photography or illustration rarely can. Think of Richard Gere’s wide-shouldered Armani outfits in American Gigolo or Audrey Hepburn’s Givenchy dresses in Breakfast at Tiffany’s for examples of how many of cinema’s most memorable scenes have been crafted from the work of the industry’s greatest designers. In more recent decades, fashion houses have increasingly entrusted Hollywood’s elite to create the visual identities for their brands. In the 1980s, Martin Scorsese and David Lynch respectively directed advertisements for Jil Sander and Calvin Klein, while people like Sofia Coppola and Darren Aronofsky picked up work in between films by applying their sensibilities to advertisements for Marc Jacobs and Saint Laurent.

It seems like the ideal fit for a fashion-conscious director like Almodóvar, whose movies are known for their color and spectacle, to collaborate with well-known fashion brands. 

Fashion brands are shedding the label of being ad-supported by producing important works by directors like Pedro Almodóvar, which has been attached to several past director-led campaign films. As a result, they have been welcomed by prestigious film festivals and institutions. However, this may not be entirely attributable to the work’s artistic merits.

The stylish traveler might have seen this transition starting during the past ten years. Louis Vuitton created a gallery in Paris in 2014, while Saint Laurent did the same in 2017 with a museum in Marrakech. In contrast, Prada runs the Fondazione Prada in Milan, an exhibition space with a cafe and a theater that both have opulent furnishings created by Wes Anderson. In addition to producing a decade-long series called Women’s Tales, the company actively supports the restoration and re-release of vintage movies. It also commissions female filmmakers from a variety of backgrounds, including Naomi Kawase, Lynne Ramsey, and Isabel Sandoval, to make short films that highlight the newest Miu Miu collections.

It’s not always charitable though. The intangible advantages of a branding opportunity can also be transformed through arts philanthropy into something that more tangibly affects a company’s bottom line. 

At least, the involved directors appear appreciative of the chance to realize otherwise commercially difficult projects. Financial support from Chanel for Clouds of Sils Assayas was able to shoot his picture on 35mm rather than digital thanks to Maria, and Noé had previously gotten Saint Laurent’s assistance for her improvisational video piece Lux terna, which featured witchcraft, Charlotte Gainsbourg, and the ghost of Cecil B. DeMille’s body of work.

Saint Laurent’s strategy appears to be less heavy on branding so far, offering personalized costumes rather than branded goods. Strange Way of Life has received favorable reviews as well, with most critics expressing agreement that Almodóvar’s movie pulls off its opulent stylings with ease.

Fashion meet film

It’s also important to note that Barbie and Super Mario Bros., two of the biggest blockbusters of 2023, are sly, studio-washed advertisements for a doll and a video game. It implies that the new fashion model doesn’t seem overtly commercial. In fact, Strange Way of Life’s banner lists Saint Laurent Productions as the first name, making the project’s blatant display of patronage nearly laudable. And at least they’re not alone if brands are eager to convert the arthouse into a showroom.

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