Film Review: Bram Stoker’s Dracula (1992)

Also known as: D (working title)
Release Date: November 10th, 1992 (Hollywood premiere)
Directed by: Francis Ford Coppola
Written by: James V. Hart
Based on: Dracula by Bram Stoker
Music by: Wojciech Kilar
Cast: Gary Oldman, Winona Ryder, Keanu Reeves, Anthony Hopkins, Richard E. Grant, Cary Elwes, Billy Campbell, Sadie Frost, Tom Waits, Monica Bellucci, Jay Robinson

Osiris Films, American Zoetrope, Columbia Pictures, 128 Minutes, 155 Minutes (original cut)

Review:

“Do you believe in destiny? That even the powers of time can be altered for a single purpose? That the luckiest man who walks on this earth is the one who finds… true love?” – Dracula

While I was never a massive fan of this Dracula adaptation, which I will get into, I’ve still always enjoyed it. It’s generally well acted and it looks incredible. I also have to say that it’s stood the test of time, as it doesn’t feel as dated as I thought it would and because many people still talk about it and refer to it as one of their favorite vampire films of all-time.

I think that Francis Ford Coppola did a good job in giving the famous novel some new life and helped to inject vampire movies back into the mainstream consciousness. However, it does fall short of the great 1994 Interview With A Vampire adaptation, as well as some of the other Dracula movies of the past.

This tossed away certain tropes, as Dracula no longer takes on the visual style of Bela Lugosi’s Dracula and instead, was reworked with inspiration taken from Catholicism. The hair is different, the costume is different and its sort of refreshing, allowing this movie to actually break the mold and exist as its own thing, as opposed to just another rehash of what Dracula movies had been for sixty years.

The film also uses characters from the book, who were mostly ignored in the countless other adaptations. In a lot of ways, this is very accurate to Stoker’s original work. However, it also has some major differences, which makes it more of Coppola’s Dracula than Stoker’s Dracula.

The biggest of these changes is Dracula’s origin, which now connects him to Vlad the Impaler, a historical ruler of Romania, who fought off and conquered the Turks. Additionally, we see how he becomes a vampire, where the original novel didn’t really answer that question.

Beyond that, this is much more about romance, as Mina has an attraction to Dracula and he allows her to choose him. In the novel, Dracula didn’t care about love and his goal was to move to England and drain it of blood. That being said, I do like this modification that Coppola made and it gives the story more nuance, context and purpose. Plus, these moments between Dracula and Mina were beautifully shot and well acted.

My biggest gripe with the film, which sucks to admit, was that Keanu Reeves was out of his depth. I know that it is popular to criticize his performance in this film but those criticisms aren’t wrong. His British accent is somehow off, feeling forced and unnatural. Also, every time he shares the screen with Gary Oldman, he is outshined by a very wide margin. I guess Christian Slater was originally cast as Jonathan Harker and man, what a different and probably much better movie this could have been, especially when considering Slater and Winona Ryder’s chemistry in Heathers.

A strong positive for me, is that Coppola insisted on using old school effects techniques, as opposed to relying on newly developing CGI technology. The effects shots are really neat and give them film a sort of authenticity that CGI just can’t replicate, even now, nearly thirty years later.

The practical monster effects, the costumes, the hair, the makeup, all of that stuff is phenomenal and it has all held up so well.

I also like that this wasn’t filmed on location and that Coppola did just about everything indoors on massive soundstages. It gives the film a great, classically cinematic look and it reminds me of Hammer’s vampire films, as well as the old Universal Monsters pictures.

Lastly, the score is fucking perfection. Wojciech Kilar created one of the most iconic horror scores of all-time. The main theme of the film is even better, as it has become just as iconic as this film, if not, more so. I wish Kilar did more American movies over the course of his career but between this and his score from The Ninth Gate, he’s one of my favorite composers that I discovered in the ’90s.

Bram Stoker’s Dracula is a better film than I remembered it being. I still can’t say that it’s on my Mount Rushmore of Dracula adaptations but it’s one of the most unique and coolest versions of the story.

Rating: 8/10
Pairs well with: Interview With A Vampire, as well as other vampire films from the late ’80s through mid-’90s.

Film Review: Bad Lieutenant (1992)

Release Date: May 14th, 1992 (Cannes)
Directed by: Abel Ferrara
Written by: Zoe Lund, Paul Calderon, Abel Ferrara
Music by: Joe Delia
Cast: Harvey Keitel, Victor Argo, Paul Calderón, Leonard Thomas, Robin Burrows, Frankie Thorn, Victoria Bastel, Paul Hipp, Vincent Laresca

Bad Lt. Productions, Aries Films, LIVE Entertainment, 96 Minutes, 91 Minutes (R-rated)

Review:

“Vampires are lucky, they can feed on others. We gotta eat away at ourselves. We gotta eat our legs to get the energy to walk. We gotta come, so we can go. We gotta suck ourselves off. We gotta eat away at ourselves til there’s nothing left but appetite. We give, and give and give crazy. Cause a gift that makes sense ain’t worth it. Jesus said seventy times seven. No one will ever understand why, why you did it. They’ll just forget about you tomorrow, but you gotta do it.” – Zoe

I’ve heard pretty good things about this movie for years but I had never seen it. Sadly, I was really disappointed with it.

It’s a movie about a shitty, completely unlikable character. While that doesn’t mean that a story has to be bad, the problem is that he’s mostly surrounded by other shitty people and the few good ones are in such miserable situations that there really is no silver lining in this film.

Sure, it reflects the really dark parts about life but it doesn’t leave you with much to care about or anything to hope for. There’s nothing that grabs on to you and you’re just taken on a journey with a total piece of shit in the final days of his pathetic life.

I get it, you’re not supposed to like the guy but just making a movie about an unlikable character isn’t a good story. While he does appear to want to do something positive in regards to the nun who was raped, who isn’t seeking justice, I’m left feeling like he’s not really wanting to do it for her or for justice even. He just wants to take his anger and problems out on scumbags that deserve no mercy for their crime.

Apart from the shitty story and shitty characters, the movie is at least fairly well acted and competently shot.

It looks good, as it captures the grittiness of New York.

However, solid cinematography work can’t save a movie that’s just a turd to begin with.

When comparing this to other crime films of the era, movies like Goodfellas and Donnie Brasco are also full of mostly shitty people. However, those movies found a way to make you care about those crappy humans. They had charisma, charm and there was a suave coolness about them.

In Bad Lieutenant, Harvey Keitel is so unlikable and off-putting that it just broke the movie for me. I usually love Keitel but I sat through this whole movie hoping he’d get killed by the end. So I guess when that moment came, I wasn’t disappointed.

Rating: 4/10
Pairs well with: other Abel Ferrara films.

Film Review: Leap of Faith (1992)

Release Date: December 15th, 1992 (Dallas premiere)
Directed by: Richard Pearce
Written by: Janus Cercone
Music by: Cliff Eidelman
Cast: Steve Martin, Debra Winger, Lolita Davidovich, Liam Neeson, Lukas Haas, Meat Loaf, Philip Seymour Hoffman, M. C. Gainey, Delores Hall, Troy Evans

Paramount Pictures, 108 Minutes, 95 Minutes (Ontario cut)

Review:

“Look, I run a show here. It’s a lot of smoke and noise and it’s strictly for the suckers. I’ve been pulling one kind of scam or another since I was your age, and if there’s one thing I know it’s how to spot the genuine article because that’s what you’ve got to watch out for. Not the cops, you can always get around the cops. But the one thing you can never, ever get around is the genuine article, and you, kid, are the genuine article.” – Jonas

I saw this movie once a really long time ago but I really liked it and had been meaning to revisit it at some point. It’s just one of those films that slipped down the memory hole. But when I reviewed My Blue Heaven, I discovered that I hadn’t yet reviewed any of Steve Martin’s work, which was surprising due to how much I love the guy. So when I went down the list of his films, this one immediately popped out as one I needed to revisit as soon as possible.

I’m really glad that I did, as it’s held up pretty well and I’m honestly not sure why this isn’t considered one of Steve Martin’s best from the general critical consensus.

This is a film that really shows Martin’s dramatic range while still allowing him to be comedic. But this is a more serious picture than his most popular ones. Just being a few years removed from Parenthood, however, Martin was able to kind of build off of that film’s more serious tone and deliver another well-balanced performance that is both campy and real.

In this, he plays a professional conman that is running around America as a faith healer. He tries to justify his massive con by pointing out that his work, despite its dishonesty, does in fact help people because he makes them believe it. But ultimately, the story and the people he encounters on this stop of his journey, make him see himself and his work differently.

Martin is surrounded by a solid, very capable cast made up of Debra Winger, Liam Neeson, M. C. Gainey, Meat Loaf, a very young Philip Seymour Hoffman and an even younger Lukas Haas. But everyone in this film brings it. Plus, seeing the relationship blossom between Neeson’s Sheriff character, who wants to expose Martin’s preacher as a fraud, and Debra Winger, Martin’s trusted assistant, is really well orchestrated and executed.

The film lets you know that Steve Martin’s Jonas Nightingale is a pretty scummy guy from the get go but it still allows him to win you over and lure you in regardless of how he capitalizes off of very poor people’s naivety. You still fall for the guy even knowing the con and once you actually get to know him, you understand that his life has been pretty shitty too. It doesn’t excuse his poor life decisions but it allows you to understand where they came from and hope that he somehow finds a better path because he does touch people and could actually do some good in the world.

In its simplest form, this is a movie about redemption and I love redemption stories. It’s far from the greatest redemption story ever told but it is still a very enjoyable one that features a complex and charismatic character that you kind of want to root for in spite of his selfish, predatory nature.

Rating: 7.25/10
Pairs well with: other Steve Martin comedies with a high emphasis on drama.

Film Review: Candyman (1992)

Also known as: Clive Barker’s Candyman (complete title)
Release Date: September 11th, 1992 (Toronto International Film Festival)
Directed by: Bernard Rose
Written by: Bernard Rose
Based on: The Forbidden by Clive Barker
Music by: Philip Glass
Cast: Virginia Madsen, Tony Todd, Xander Berkeley, Kasi Lemmons, Ted Raimi, Vanessa Estelle Williams

Candyman Films, PolyGram Filmed Entertainment, Propaganda Films, 99 Minutes

Review:

“They will say that I have shed innocent blood. What’s blood for if not for shedding? With my hook for a hand, I’ll split you from your groin to your gullet. I came for you.” – Candyman

This movie is adored by some within the horror community but it’s just never really resonated with me. The weird thing, is that I love Tony Todd in just about everything he does and this certainly is his most iconic role. However, the film just kind of falls flat and it’s hard to care about much within it but I’ll explain.

To start, the film does lure you into a dreamlike state, almost immediately, by the enchanting, interesting and unique score by Philip Glass. However, even though I like the score, I don’t specifically like it for this film, as it gives it a weird tone and for me, at least, it doesn’t quite fit.

That’s also not to say that it’s not somewhat effective, as it does put your brain in a strange place. But that strange place sort of wrecks the film. Just because something is effective doesn’t mean that its effect is a good creative choice.

I have several issues with the film beyond this.

Firstly, the score doesn’t really help the pacing of the film, which moves slower than a drunk snail crossing over a maple syrup spill. In fact, it makes the film seem slower, as it tries to constantly enchant you and put you to sleep.

Secondly, it never really clearly defines who or what the monster is. You also don’t really understand what his powers are. Almost every time you see him, he appears to have the ability to teleport. Yet, at the end of the film, when he’s stuck in a giant pile of burning trash, he doesn’t teleport out, he just burns to death.

Thirdly, the ending is bizarre and doesn’t make a lot of sense. Does Virginia Madsen actually take the Candyman’s place as the monster? The ending implies such but this isn’t anything that’s ever revisited in the sequels. Granted, I haven’t seen the third one but I’m pretty sure it’s left unanswered and continuity doesn’t mean jack shit with these movies.

Fourthly, the film is just full of a lot of random, baffling shit. Like why was there a giant mountain of garbage in the first place? How did days go by and no one heard the missing baby in the next door apartment? What baby doesn’t cry every fifteen minutes? When Virginia Madsen calls for Candyman, she just gets drunk and goes to bed, why didn’t he appear instantaneously to butcher her and her friend like he did the girl in the beginning? This movie has more holes in its plot than a hobo has in his underwear.

However, there are some positives in this movie, like the performances from Madsen and Todd. They’re really good despite the picture feeling like a house of cards waiting to collapse in on itself.

Additionally, this flick does a superb job of making duality a theme throughout the picture. There’s the duality between white and black people in Chicago, the duality of there being a supernatural Candyman and a real world drug dealer who adopted the Candyman persona, there’s also the duality of the dream world and reality, as you’re never quite sure what’s actually happening at certain points.

There are a lot of layers to the movie but the problem is that none of them are as clearly stated as they need to be and they sort of get lost in the overall production being lackluster, the pace being too relaxed and the general dreamlike presentation.

The point is, this film should be more effective in regards to its social and political commentary. I don’t know if the director just didn’t want to hit people over the head with it but sometimes a story can benefit from that. The biggest issue with it is that Candyman, as a character, needed to be more defined and clearly tied to the themes of the film. At least the first sequel gives you his origin and clues you in to who he is, why he is and how this is all supposed to make sense in a clearer way.

Overall, this is a movie I’ve always wanted to like but I’m just kind of meh about it. From memory, I like the second one better but I’m going to re-watch it soon and then do a proper review of it.

Rating: 6/10
Pairs well with: the other films in the series, as well as Wes Craven’s The People Under the Stairs.

Film Review: Godzilla and Mothra: The Battle For Earth (1992)

Also known as: Godzilla vs. Mothra (alternative title)
Release Date: December 12th, 1992 (Japan)
Directed by: Takao Okawara
Written by: Kazuki Ōmori
Music by: Akira Ifukube
Cast: Tetsuya Bessho, Satomi Kobayashi, Takehiro Murata, Megumi Odaka, Akiji Kobayashi, Akira Takarada

Toho Co. Ltd., 102 Minutes

Review:

“There isn’t a job that is too tough for me, except, the one time I was married to a real stubborn woman.” – Takuya Fujita

I kind of forgot how much I enjoy this entry into the Heisei era of Godzilla.

It’s a pretty solid picture, all around, minus some cheesiness. But that cheesiness is mostly from the human actors, as the kaiju interactions and battles are some top notch stuff.

Also, since I hadn’t seen this one in quite awhile, I forgot that it’s actually Godzilla versus both monsters in the end.

While this is the first time that Godzilla and Mothra meet in the Heisei era, it is the first time that Battra has ever appeared. For those who might not know, Battra is essentially the Yang to Mothra’s Yin. He’s a darker and, at face value, an evil looking version of Mothra. The two monsters do battle throughout the film but by the end, Battra and Mothra decide that it would be better to combine their efforts to fight Godzilla, who in this continuity, is still a real threat and not the friendly, kid loving monster he became later in the Shōwa era pictures.

The rubber suits and animatronics in this chapter are amazing. While I find the previous film, Godzilla vs. Biollante, to be more impressive overall, this looks like a pristine and well crafted production, top to bottom. It’s certainly one of the best kaiju films of its era from a technical standpoint.

This also has one of my favorite final battles because the location looks unique, the monsters look great and the action itself is well choreographed.

If you’ve ever wanted to see a giant, neon Ferris wheel dropped on Godzilla, than this is the movie for you.

Rating: 8.5/10
Pairs well with: the other Heisei era Godzilla films, as well as Mothra vs. Godzilla from 1964.

Film Review: Lethal Weapon 3 (1992)

Release Date: May 11th, 1992 (Westwood premiere)
Directed by: Richard Donner
Written by: Jeffrey Boam, Robert Mark Kamen
Based on: characters by Shane Black
Music by: Michael Kamen, Eric Clapton, David Sanborn
Cast: Mel Gibson, Danny Glover, Joe Pesci, Rene Russo, Darlene Love, Traci Wolfe, Steve Kahan, Mary Ellen Trainor, Kenneth Tigar, Stuart Wilson, Delores Hall, Miguel A. Nunez Jr.

Silver Pictures, Warner Bros., 118 Minutes, 121 Minutes (Director’s Cut)

Review:

“I’m too old for this shit!” – Roger Murtaugh

This is where the Lethal Weapon franchise started to fall off a bit but it is still a pretty solid movie and it does keep the film series moving forward. This just isn’t as great as the first two but it is hard to be as good as those films were for a third time. In fact, it’s actually incredible that they captured lightning in a bottle twice.

That being said, this is still one of the greatest buddy cop movies of all-time because anytime Riggs and Murtaugh get together, you can almost guarantee that the end result will be a film with a lot of heart, that’s a lot of fun and full of great action sequences.

And it’s the action sequences that make this one great. They’re all pretty solid here, especially the multiple vehicle chases and the big showdown in the housing development that isn’t yet constructed. While burning wood frames in the shape of houses was probably a good way to keep the budget down, it was a great idea, executed well and it made for a good looking and unique finale.

While this one brings Joe Pesci back into the fold, it adds one more permanent member to the family in Rene Russo’s Lorna Cole, an internal affairs cop that starts a romance with Martin Riggs, who has had terrible luck with the previous women in his life.

I think the one thing that makes this film weaker is the villain and the criminal plot. He’s an ex-cop turned property developer that funds his empire by stealing guns from police evidence lockups in order to sell them to street gangs. It’s not very original and it’s pretty topical for the time when this was made. Sure, street gang violence still exists today but it’s not an issue of the magnitude of any of the criminal plots from the three other Lethal Weapon movies. I mean, these guys just took down a South African diplomat.

Anyway, I think this film also loses some steam because it wasn’t written by Shane Black, who penned the first two films. While he may have been busy and Richard Donner may have wanted to give someone else a shot at writing, this film is missing that special touch that Black had in the second half of the ’80s.

Overall, this is still a good outing, it’s just my least favorite of the four.

Rating: 8.5/10
Pairs well with: the other Lethal Weapon films, as well as most ’80s/’90s buddy action movies.

TV Review: X-Men (1992-1997)

Also known as: X-Men: The Animated Series
Original Run: October 31st, 1992 – September 20th, 1997
Created by: Eric Lewald, Sidney Iwanter, Mark Edens
Directed by: Larry Houston
Written by: various
Based on: X-Men by Stan Lee, Jack Kirby
Music by: Ron Wasserman, Shuki Levy, Noam Kaniel, Amotz Plessner
Cast: Norm Spencer, Cathal J. Dodd, Lenore Zann, Iona Morris, Alison Sealy-Smith, George Buza, Chris Potter, Tony Daniels, Alyson Court, Catherine Disher, Cedric Smith

Saban Entertainment, Graz Entertainment, AKOM, Fox Kids Network, 76 Episodes, 22 Minutes (per episode)

Review:

This animated show was the absolute highlight of my week back when it first came out and for a few years until high school took over my life and with it, the pursuit of other things. Honestly, I kind of checked out on this show around the same time that I checked out on comics because I was playing sports and trying to impress girls.

I did end up watching the show in its entirety, years later, after it was all available to stream on Netflix some time ago. I liked it and I thought that the show mostly maintained its consistency till the end, minus a few bad episodes, here and there.

Now that it’s on Disney+, I felt compelled to revisit it, as its been awhile and my memories of it are so fond.

However, despite still recognizing its greatness, it doesn’t quite resonate the same way for me anymore. I don’t blame the show, though, I blame the age of the viewer: me.

As I’ve gotten older, it’s harder for me to sit through long bursts of animation. I’m not sure why but I watched a handful of episodes and found my mind wandering, looking at my phone, looking at the clock and then thinking that I’d rather just read the comics that these stories are trying to adapt.

Again, it’s not X-Men, it’s me.

I then talked to a friend about it and he said that he feels the same way with most of the cartoons he used to watch. He’s 44 and I’m now 41. So I wonder if 40 is some sort of point where the mind severs itself from this type of entertainment? But then, I can still watch Batman: The Animated Series and the Marvel/Sunbow era of G.I. Joe: A Real American Hero.

That being said, I can’t shit on the show for my personal inability to sit through it now.

It’s a stellar animated series, one of the best of its era. The stories were well adapted, even if they took a lot of liberties and didn’t follow the same sequence as the comics.

Rating: 8.5/10
Pairs well with: the other Marvel animated shows from the ’90s.

Film Review: Honey, I Blew Up the Kid (1992)

Also known as: Big Baby, Honey, I Blew Up the Baby (working titles)
Release Date: July 17th, 1992
Directed by: Randal Kleiser
Written by: Garry Goodrow, Thom Eberhardt, Peter Elbling
Based on: characters by Stuart Gordon, Brian Yuzna, Ed Naha
Music by: Bruce Broughton
Cast: Rick Moranis, Marcia Strassman, Robert Oliveri, Amy O’Neill (cameo), Lloyd Bridges, John Shea, Keri Russell, Gregory Sierra, Julia Sweeney, Ron Canada

Touchwood Pacific Partners 1, Walt Disney Pictures, Buena Vista Pictures, 89 Minutes

Review:

“There’s one thing every little kid knows. Daddies mean fun; mommies mean business.” – Diane

This is a bad sequel. In fact, it’s a horrendous sequel.

And that sucks because Rick Moranis is a Canadian national treasure.

The reason this film is terrible is because it completely lacks the most important element of its predecessor: Honey, I Shrunk the Kids. That element is adventure.

Honey, I Blew Up the Kid is just a goofy comedy where a giant toddler descends upon downtown Las Vegas and brings no real kaiju level terror. He just picks up random things and plays with them like an actual f’n toddler.

The previous film saw four kids get shrunk to a size smaller than ants and then saw them have to make it across their backyard, fending off giant bees, fighting giant scorpions, surviving a lawn mower and dealing with a half dozen other threats to their lives.

This film dealt with babysitting a giant toddler that just ends up escaping anyway. None of this is fun, funny or all that entertaining. The jokes are weak, the gags are lame and the only giant props in the film are the random pieces of crap the toddler has in his front pocket.

There’s honestly not a whole lot to say about this movie. It’s bad on just about every level and it shouldn’t exist.

Rating: 2.75/10
Pairs well with: I guess the other Honey, I Re-Sized A Family Member movies.

Film Review: Fatal Fury: Legend of the Hungry Wolf (1992)

Release Date: December 23rd, 1992 (Japan)
Directed by: Hiroshi Fukutomi
Based on: Fatal Fury: King of Fighters by SNK
Music by: Toshihiko Sahashi, Toshio Masuda

Fuji Television Network, Nihon Ad Systems (NAS), Star Child Recording, 46 Minutes

Review:

There were Street Fighter kids, there were Mortal Kombat kids and then their were Fatal Fury kids.

I was a Fatal Fury kid and actually loved all the fighting games put out by SNK on the Neo Geo. And that’s not to say that I also didn’t play the shit out of the other two games but the style of those SNK fighters lured me in.

So when Fatal Fury animes started coming out, I bought them all and watched them almost weekly. I just dug the hell out of these films.

This one, the first of three, is the shortest and probably the worst but it’s still worth a watch for fans of the franchise that would evolve into the uber popular King of Fighters game series.

The story isn’t super exciting and it’s standard fighting game story fare. A bad guy, in this case Geese Howard, killed the two protagonists’ father. The two brothers decide to get revenge when they’re adults ten years later. They meet a Muay Thai ally and all three go to war with the scumbags ruling the city. They also kick ass in a big fighting tournament and draw the attention of the big bad guy.

The main issue I have with this film is that it’s too short. The story could have been better and richer but this just cuts to the chase, sets everything up quickly and then lets the characters duke it out.

If you aren’t familiar with these games, then this probably isn’t something you’ll give a shit about. If you are an old school Fatal Fury fan, this is worth checking out if only to build up towards the third film, which was pretty fantastic from my memory.

Rating: 6/10
Pairs well with: the two Fatal Fury movies that follow.

Film Review: Rescue Me (1992)

Also known as: Street Hunter (alternative title), The Infernal Venture (Belgium)
Release Date: September 11th, 1992 (Germany)
Directed by: Arthur Allan Seidelman
Written by: Michael Snyder
Music by: Joel Hirschhorn, Al Kasha, David Waters
Cast: Michael Dudikoff, Stephen Dorff, Ami Dolenz, Peter DeLuise, William Lucking, Dee Wallace, Liz Torres

Cannon Films, 99 Minutes

Review:

“Now you kissed a girl, kid – the rest is all downhill.” – Daniel ‘Mac’ MacDonald

What happens when you take a teenage Deacon Frost, team him up with the American Ninja and have them hunt down dumb kidnappers that took Tony Danza’s daughter from She’s Out of Control? You get this movie.

But you also get Peter DeLuise as one of the bumbling criminals, as well as Dee Wallace as the always concerned but always aloof mom.

That being said, I love the cast and it actually shocks me that I didn’t know of this film’s existence until fairly recently.

Additionally, this was put out by Cannon Films, which explains the lead role for Michael Dudikoff. But this was also put out by Cannon very late in the company’s lifespan. And this shows, as it lacks the high octane magic that was always present in their ’80s films that featured any sort of action.

Still, this was enjoyable and it actually surprised me as it had real heart and charm.

Sure, it’s a dumb movie with a bad script, baffling decisions by the characters and it’s so over the top that it’s not believable even for a comedy. However, you do end up liking these characters and find yourself cheering for them. Well, Stephen Dorff’s Fraser and Dudikoff’s Mac. Ami Dolenz just plays a selfish rich girl that goes on to prove that she’s a dumb and shitty person.

The story follows Dorff’s Fraser, a high school photographer that pines over Dolenz’s Ginny. He witnesses a crime going down, Ginny ends up in the middle of it along with Mac. Ginny is taken hostage and Fraser wants to go save her. So he teams up with Mac and they go from Nebraska to Los Angeles in search of Ginny and a bit of revenge.

At it’s core, this is a coming of age story about young love, first crushes, first kisses and learning to accept that your first love is probably just going to break your heart. I like that this film didn’t go for the cookie cutter ending where the nerd saves the cheerleader and they live happily ever after. The fact that Fraser actually grows up through this experience and realizes he doesn’t need Ginny is actually refreshing.

Dorff was pretty damn good, even at this age. But the film is really carried by the chemistry and the friendship of Dorff and Dudikoff’s characters. I really liked Dudikoff in this and while I prefer him being a straight up action star, he got to really show his human side and his acting ability more here than he did in any American Ninja movie or Avenging Force.

What was also best about this leading duo is that they looked like they enjoyed being in this movie and that they actually clicked well together off screen. In retrospect, it must have been cool for the young Dorff to work opposite an ’80s action star and for Dudikoff it must have been satisfying working with a kid that had chops and a pretty bright future.

Rating: 6.5/10
Pairs well with: other ’90s road trip movies.