Fairaher The film makes a home in your brain and the only cure is to see it again.

Doomtomylo a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

ChampDavSlim The acting is good, and the firecracker script has some excellent ideas.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

marste-03755 Love IT. I have seen IT maybe 6 times or so! Cud see it again and again!

TonyMontana96 (Originally seen many years ago) I have hated this film for a long time, and I still do, it think's it's funny, but for people with comedic taste, it's 90 minutes of torture. The Wayans who also made the dreadful Little man from 2006, have no shame, they throw out these alleged comedies every few years, and it's putting me off the entire genre. White Chicks is a film for imbeciles, it's complete and utter garbage and the worst comedy of the pre 2010 era.

Reno Rangan I've heard this film a long ago, but I never interested to watch it. We can't avoid them, because when we look for a particular type of film for the occasion, they will pop-up and that is how I watched this now. I know it is a silly comedy, because in a real world this thing never happen. So knowing this is only for cinema, I prepared to enjoy whatever it offers. But I must say, even though my rating is not big, I kind of enjoyed it.Nobody watches this without knowing its synopsis. So you will already know the fifty per cent of the story when you do. The rest is how it is developed; including how good the jokes are that comes with our watch. So much cliché, but entertaining with some good scenes and lines. The actors were excellent. The make-ups were not flawless, but worked okay, especially for a comedy. Because if there is an error, it will going to appeals from the comedic side.So the overall film was better than what I presumed all these years. Glad I saw it, it's nothing like those silly comedies I've seen. I've seen many imposter themes, but this is refreshing. All the above, this is a one off film, that's the best thing about it. You know, sequels are what degrades the original film in most of the scenarios. Thanks for that, there's no follow-up for this with a B movie cast and crew. This is a very much watchable film, not comedy riot, but fairly does its job.6/10

Steve Pulaski I find it difficult to try and align the plot and slapstick humor of Keenen Ivory Wayans' film White Chicks with Laura Mulvey's ideas about gender and the role of women in film largely because I think any social commentary found in this particular film wasn't on the forefront of the minds who made this film. This is a film that is meant to do one thing, and like most Wayans' productions, that is to retaliate against conventions and stereotypes by using said conventions and stereotypes. The Wayans work to make films that exploit the wide-variety of clichés used in modern film, yet their films – such as this, Dance Flick, and the two Haunted House films – all abide by the common tropes of the films they're parodying, so their films feel less like acts of rebellion but more like surrender to filmmaking principles.The film is a brutally unpleasant slog through the ins and outs of buddy-cop clichés and tired racial and sex humor that relies on the idea that African-American males are well-endowed and all white females are privileged and simply stumbled their way into wealth. The film revolves around Kevin and Marcus Copeland (Shawn and Marlon Wayans), two disgraced FBI agents who have just flubbed another serious drug bust. Their deputy (Frankie Faison) gives them one last chance at redeeming themselves by making them protect two young, ditsy billionaires named Brittany and Tiffany Wilson (Maitland Ward and Anne Dudek) from a rumored kidnapping plot.When the Wilson sisters refuse to leave their hotel room after getting minor cuts on their face, both Kevin and Marcus impersonate the two sisters in whiteface, and are plunged into a beauty pageant alongside acquaintances of the sisters. Both Kevin and Marcus can't reveal their true identities to Brittany and Tiffany's competitors, nor can Marcus tell his wife (Faune A. Chambers) exactly what he is doing, so the two lumber around in drag as they try to navigate the ins and outs of this business while trying to save their jobs.White Chicks would be infuriatingly racist, sexist, and stereotypical if it wasn't such a narrow-minded and stupid film, so hellbent on pinpointing every charmless and laughless racial and sexual stereotype out rather than attempting to do anything with it. Where's the commentary on the hyper-sexualization of women in American film? Where do we exactly identify and take note of how, whilst in drag, Kevin and Marcus gawk at other women, but hate being gawked at as women by other men? Where's the commentary on the perception of race, or at least the satirical side of this screenplay? It's like a potential-ridden screenplay was gutted and left for dead because too many uptight suits got their hands on it and robbed it of all creativity, but perhaps that's the creative process of Shawn and Marlon Wayans. How else do you explain how it took six people to write a film predicated off of jokes about stereotypes and bathroom activity? Doing my best to connect White Chicks with Mulvey's ideas of phallocentrism, Mulvey's argument is the idea that women couldn't truly enjoy or connect with Hollywood filmmaking because of the camera lens being (a) objectively male and (b) part of a patriarchal structure. Mulvey views Hollywood films as films that further male ideology and principles by giving males the power in their films (to which Mulvey states the power of the male comes from the penis and the male's possession of a penis).One idea of Mulvey's White Chicks carries throughout its plot is the idea that women exist in films for visual pleasure (what Mulvey calls to-be-looked-at-ness). With that, women are viewed in a scopophiliac sense, which resorts to viewing women as objects rather than individual characters with individualized ideas. Almost every white female character in White Chicks is an object representative of fetishized beauty, with characters lacking any discernible ounce of authenticity. So much of the film occurs in a beauty pageant, or involves women trying to achieve unrealistic states of beauty by way of tight outfits, breast implants, and materialistic possessions, that the objectification of women in the film runs rampant because there is no way to view these female characters other than by way of their measurements and their love for material things.Finally, returning to the idea I alluded to earlier about male gaze – where the camera lens assumes a de facto masculine perspective – White Chicks does abide by that idea as well. Even though most of the characters we meet in the film are females, the two lead characters are males disguised as females, which leads to the idea that even if you can paint the focus in a different light, you cannot escape the idea of male gaze because it's a default in the world of cinema. White Chicks is essentially the male gaze playing dressup, much like its male characters in the film.White Chicks is an unforgivably awful film; the kind where one wouldn't be so stupid as to take a few days off from comedy upon seeing it and witnessing joke-after-joke fall prey to conventionality and trainwreck delivery. The film is as obnoxious as it is unfunny, with characters and stereotypes - particularly the seriously ridiculous and one-note Terry Crews character - mistaken for any kind of significance in narrative or thematic urgency. I guess having Shawn, Marlon, and director/co-writer/co-producer Keenen Ivory Wayans giving some kind of worth to this material would've been too much to ask. We could've seen how racial and sexual prejudice and tendencies are communicated in many varying shades of gray, in a film called "White Chicks" nonetheless.