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Dangerous Curves
A college graduate is offered a deal of a lifetime - deliver a Porsche for a client and join the company of your dreams in return. When the car gets stolen, he and his friend must go to a beauty pageant run by the thief to get it back.
Release : | 1988 |
Rating : | 3.7 |
Studio : | Lightning Pictures, |
Crew : | Production Design, Director of Photography, |
Cast : | Tate Donovan Grant Heslov Danielle von Zerneck Valerie Breiman Robert Romanus |
Genre : | Drama Comedy |
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Rating: 5.5
Reviews
People are voting emotionally.
One of the most extraordinary films you will see this year. Take that as you want.
There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.
The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.
In a film seemingly not supervised by a director, two California college roommates, Chuck (Tate Donovan) and Wally (Grant Heslov) take part in a vapid adventure obviously targeted at a barely pubescent audience. Chuck has an opportunity of which he has dreamed, to work for a large corporation where he will begin at $60000 per year, if he will complete a pre-employment assignment for the CEO (Robert Stack), a friend of Chuck's father. His duty is to deliver an expensive new Porsche, a birthday gift to the CEO's daughter in Lake Tahoe, but naturally complications occur due to Wally, the irresponsible friend of Chuck. Wally convinces Chuck to first utilize the Porsche as "bikini bait" in San Diego, where there is coincidentally a scheduled beauty pageant, and where the car is stolen. The manipulation of Chuck by Wally makes little sense throughout this affair, but sensible behaviour is not readily found within the script, as it would only interfere with pratfalls and bathing suit competitions. It is enough to mention, as ever with this type of film, a providential solution is found for personal relationship problems and that no one seems to mind if logic vanishes along the way. A payday is given to veterans Stack, Leslie Nielsen and Elizabeth Ashley, all of whom essentially create their roles, and a bright spot is a performance by funnyman Robert Klein, with his usual off-kilter derelict, in this instance an aging surfer. Poorly written and edited, this picture can yet claim freedom from any mean-spirited component, its most offensive facet being that the viewing of it is fundamentally a waste of time.