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White Chicks

White Chicks

Comedy · Crime · 2004

Two FBI agent brothers, Marcus and Kevin Copeland, accidentally foil a drug bust. To avoid being fired they accept a mission escorting a pair of socialites to the Hamptons--but when the girls are disfigured in a car accident, they refuse to go. Left without options, Marcus and Kevin decide to pose as the sisters, transforming themselves from black men into rich white women.

Movie details

White Chicks

“They're going deep undercover.”

2004 Comedy · Crime 1h 49m

Critical arithmetic

One number, for now.

TMDB

7.0 / 10

Community rating

Two FBI agent brothers, Marcus and Kevin Copeland, accidentally foil a drug bust. To avoid being fired they accept a mission escorting a pair of socialites to the Hamptons--but when the girls are disfigured in a car accident, they refuse to go. Left without options, Marcus and Kevin decide to pose as the sisters, transforming themselves from black men into rich white women.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over White Chicks?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Keenen Ivory Wayans

Written by

Keenen Ivory Wayans · Marlon Wayans · Shawn Wayans · Andrew McElfresh

Shawn Wayans

Shawn Wayans

Kevin Copeland

Marlon Wayans

Marlon Wayans

Marcus Copeland

Frankie Faison

Frankie Faison

Chief Elliott Gordon

Terry Crews

Terry Crews

Latrell Spencer

Faune Chambers Watkins

Faune Chambers Watkins

Gina Copeland

Rochelle Aytes

Rochelle Aytes

Denise Porter

John Heard

John Heard

Warren Vandergeld

Court is in session

Put White Chicks on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Cool Ironist

“Form is the argument.”

Every composed frame and deliberate cut is evidence that control can be thrilling in its own right.

The prosecution The Arthouse Gremlin

“Technique in search of a pulse.”

Immaculate construction is still construction. The film may be too busy proving its craft to feel alive.