Not a big job but glowing with Criterion’s imperial sheen and resplendent sound mix. Maybe the less said the better?
Howard Deutch’s film is about manufactured nostalgia, bordering on revisionism, bordering on delusion.
As Dorothy Zbornak demanded, "Maestro, how about something with a little octane?"
It’s a giddy, diabolical, and terminally underappreciated sequel to the film that made Joe Dante’s career.