Back in the day, Louis (Samuel L. Jackson) and Floyd (Bernie Mac) were inseparable. As backup singers for R&B heartthrob Marcus Hooks, they were the sweet-singing, slide-dancing, finger-snapping unification of 1960s cool. When Hooks took covey with a alone career, his sidemen sputtered along fleetingly as a duo before their huffish differences interfered.
Floyd invested in a sequence of buggy washes with saucy unsophisticated sponge girls in spoil shorts, and made a fortune. Louis took up a sideline in armed robbery, and none too successfully. Now, on the observance of Hooks' death, promoters sway the misallied partners to go at a cremation tribute. Sharing the airplane-averse Floyd's lime-green Cadillac Eldorado on their cross-country trip, the grumpy aged singers hit the cobwebs off their personify in honky-tonk dives, while fetching mess of opportunity to brawl, spat and bond.
"Soul Men" is a raucous, uncertainly paced comedy graced with two charismatic performers. Their acting styles are worlds apart, Mac an cocky hambone and Jackson a polite heavyweight enjoying his lighter side. Technique aside, they have a likable relationship that carries them through unimaginable abstract rivalries, creaky-geezer slugfests and pleasurable euphonious sets.
We are asked to feel that music could magically recuperate the decades-long cleft between them. As they shine and grin through creamy-smooth side-by-side social moves, and coast through melodic give-and-take, it's carefree to take it in the healing privilege of song. Their sweet-and-sour love grows beyond slap-happy comedy into something oddly touching. The tape earns its R rating with unsought for (but admittedly funny) flashes of nudity and expressed crudity.
It's a lewd, slap-happy, warm-hearted adieu to Mac, who died in August. The last Isaac Hayes also appears, playing himself, but his manner lacks the valedictory poignancy of Mac's unchangeable performance. Mac left side us laughing and unfinished one most recent encore.
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