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Nothing But Trouble

By Adam Lippe


Everything about Nothing But Trouble is so elaborate, yet so pointless. The only laugh in the entire movie is when Dan Aykroyd put a gas nozzle on a tin of Hawaiian Punch. However, there is the enjoyable notion of a condiment train and that gaffe where Demi Moore’s [pre-surgery] tits fall out of the top of her halter top/capri pants dress and she stuffs them back in. Star Chevy Chase sleepwalks through the movie, as per the norm and one can’t help but be bewildered at the scenes with Digital Underground, especially when Aykroyd joins them to play a song. But there’s no story and no jokes and so all you have to watch is the amusement park design of the sets, which was clearly the focus of writer/director Aykroyd (and what really drives home the vanity project aspect of the production). There’s a strange, inexplicable feeling that runs throughout, it’s almost trying so hard not to be a movie (let alone a comedy), that it’s amusing as a vacuum of inspiration. Similar to The Master of Disguise, when it remembers what genre it’s supposed to be, someone farts.

Nothing But Trouble was made in that period right at the end of the 80’s, when darker R rated comedies were ok, and the beginning of the 90’s, when lighter PG family fare was the goal, so it’s somewhere in between; a dark but spineless PG-13 movie without any jokes, since they could only go so far with the humor. We do learn that Taylor Negron was like the 90’s version of Hank Azaria, one terrible foreign accent after another in a myriad of medium-big budget comedies.

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Now on DVD and Blu-Ray


By Adam Lippe

Whenever there’s a genre parody or ode to a specific era of films, such as Black Dynamite’s mocking of Blaxploitation films or Quentin Tarantino’s Death Proof, the second half of Grindhouse, the danger is that the film might fall into the trap of either being condescending without any particular insight, or so faithful that it becomes the very flawed thing it is emulating.

Black Dynamite has nothing new to say about Blaxploitation films, it just does a decent job of copying what an inept [...]

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Featured Quote (written by me)

On Cold Fish:

Though the 16 year old me described the 1994 weepie Angie, starring Geena Davis as a Brooklyn mother raising her new baby alone, as “maudlin and melodramatic,” Roger Ebert, during his TV review, referring to the multitude of soap-operaish problems piling up on the titular character, suggested that it was only in Hollywood where Angie would get a happy ending. “If they made this movie in France, Angie would have shot herself.”

Well Cold Fish was made in Japan, where Angie would have shot herself and that would have been the happy ending.