Chicago Sun-Times, 08/02/2002, p.31, "...It is funny because Lawrence is a gifted performer with superb timing and an ability to mimic characters and suggest attitudes and postures with lightning-quick invention..."
Entertainment Weekly, 08/09/2002, p.48, "...[Lawrence] comes off as a warmer, more self-savvy, and altogether funnier person..."
Los Angeles Times, 08/02/2002, p.C8, "...Lawrence is a no-holds-barred stand-up comedian who gets away with the strongest, most graphic language because he is so funny....[A] deftly structured and well-paced concert film..."
Theatrical Release: AUGUST 2, 2002
DVD Features:
Region 1
Keep Case
Full Frame
Audio:
Dolby Digital 5.1 - English
Additional Release Material:
Audio Commentary - 1. David Raynr - Director, Michael Hubbard - Producer, Robert
Lawrence - Executive Producer
Trailer - 1. Theatrical
Featurette - 1. BACKSTAGE PASS - THE MAKING OF RUNTELDAT
Deleted Scene
Interactive Features:
Interactive Menus
Scene Selection
With RUNTELDAT, troubled actor-comedian Martin Lawrence (BIG MOMMA'S HOUSE, DO THE RIGHT THING, BLUE STREAK) returns to the stand-up spotlight in order to set the record straight once and for all. Fed up with the way the media chose to portray him after a string of unfortunate run-ins with the law, Lawrence realized just how influential their role is in the making or breaking of a celebrity's career. Determined not to let that happen, Lawrence instead jumped right back into work. The result is RUNTELDAT, a concert film that 1) shows the media that they can't keep him down, and 2) gives him a chance to tell his side of the story. Of course, those rather bizarre occurrences aren't the only topics of discussion here. From September 11th, to parenthood, to relationships and divorce, Lawrence uses his oft-mimicked brand of profanity laden insight to try to make sense of things. And then there are the "incidents"--a drug freak-out in the middle of a busy Los Angeles intersection, a fight in a nightclub, and a jogging episode that landed the star in a near-death coma. Lawrence pulls no punches in telling his side of the story, resulting in a hysterical, yet always humane, concert film.