Men at Work is patient zero for the plague of Charlie Sheen movies that infected the 1990s.
At the center of Roeg’s stylistic excess is Houston, balancing effortlessly between high camp and horror.
The power of the film is the endurance of an Elvis Presley song (or two), the staying power of a children’s movie, and the sight and sound of a match being struck.
The film was a first sortie for William Peter Blatty’s all-out attack on unbelief in the summer of 1990.
On the surface, the film is a deft portrayal of the systemic corruption embedded in the legal system.
It asks us to immediately bond with and root for these criminals as the good guys despite knowing almost nothing about their motivations.
Above all of the more modest achievements in structure and casting looms Zucker’s garish comedic sensibilities.
The film’s scribe, Steven de Souza, certainly intended a large degree of this self-referentiality.
Dispensing with all notions that Days of Thunder is a critical work of any sort reveals its hollow and misogynistic underpinnings.