Tamra Davis’ hip-hop satire and early Chris Rock vehicle CB4 made its theatrical debut on March 12th, 1993. I decided to take a look back at the film’s 30th anniversary. Care to join me?
Rock stars as Albert, an aspiring rapper from a working-class household in Locash, California (a fictional suburb of Los Angeles meant to parody NWA's hometown Compton). Though talented, he and his friends Euripides (Allen Payne) and Otis (Deezer D) struggle to come up with a gimmick that will help them stand out from the pack. When local club owner and drug kingpin Gusto (fan favorite Charlie Murphy in his first major role) is arrested and imprisoned, Albert seizes on the opportunity to use the gangster’s name and image to lend some street cred to his rapping.
Albert, now known as MC Gusto, names his group CB4 after the cellblock where he was supposedly imprisoned. The socially conscious Euripides becomes Dead Mike while the ladies’ man Otis becomes Stab Master Arson, and the group quickly achieves mega-stardom. Meanwhile, the real Gusto catches wind of what’s happening and breaks out of prison, vowing revenge on Albert.
The film features a large and talented supporting cast. Check it out. Chris Elliott plays a corny and clueless filmmaker documenting CB4’s rise to fame. The late, great Phil Hartman is an opportunistic politician looking to stoke outrage about CB4’s outrageous lyrics. Khandi Alexander is an ambitious woman who uses rappers’ promiscuity to her advantage. Art Evans is Albert’s hardworking and disapproving father. Theresa Randle plays a journalist unimpressed by CB4’s misogynistic lyrics. Willard E Pugh is CB4’s gregarious agent. Gusto’s electrolarynx-using best friend is played by Ty Granderson Jones. Rachel True is Albert’s wholesome girlfriend from before he became famous. Tommy Davidson plays a VJ. Additionally, there are a large handful of cameos from the hip-hop world. It really is pretty impressive.
Rock and cowriters Nelson George and Robert LoCash have a great premise on their hands, looking to This is Spinal Tap as a template to spoof gangster rap. They also conjure a plethora of intriguing subplots. If we’re being honest, I’d say most of the writing feels undercooked and numerous storylines are frustratingly truncated. However, the jokes and general silliness of the picture help to alleviate some of the more glaring flaws. Also, the tropes that the film targets are skillfully skewered. Ultimately, the central narrative has no room to breathe, though, and the runtime of 89 minutes feels quite choppy. I should also note that there are also some gay panic bits that haven’t aged well. So, the scripting is hit-and-miss.
That’s not to say the flick isn’t enjoyable, however. The performances are quite fun. My favorites are probably Murphy’s scene-chewing villainy and Alexander’s calculating seductiveness. The soundtrack is also littered with outstanding classic rap tracks. The original songs created for the film that serve as CB4’s hits are clever and funny, too.
Tamra Davis’ CB4 is a bit of a mixed bag. I would say it’s more amusing than hilarious and the script is unfortunately somewhat under heated. Still, there’s fun to be found and as a time capsule of the early ‘90s it allows for some genuinely warm nostalgia. Recommended, with caveats, for fans of Yo! MTV Raps, soft-top jeeps, and groupies.
Michael Cavender