Thankfully, on the whole, the irksome traces of David Zucker’s political worldview get outpaced by some of the most winning slapstick inanity in American cinema.
Comical media images of women exploding provided outlets for spectators to laugh off the hazardous politics of everyday domesticity.
David Giancola simply pursues how he felt as the buzz surrounding Illegal Aliens rose and fell in tandem with the media’s coverage of Anna Nicole Smith’s court battles and death.
The many critics who panned Myra Breckinridge decades ago when it was first released were as clueless as John Huston’s Buck Loner.