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A film so uneven in tone it can't decide what genre it's in. It's a romance-comedy- no wait, it's a cop-comedy. Then comes the bullet-riddled death count and it's clear this is a confused piece of cinema, in which even the fifth-wall is broken. All this playfulness needn't had been a bad thing, except here it merely culminates to an early-nineties mess. Some recipes with a large list of ingredients work, some don't; in this film, there's simply no room left for an audience to get comfortable. Slater being Slater (or Jack Nicholson) is the redeeming card, if of course, that is you like him. Kuffs is ultimately a bit of fun, even if the film itself doesn't always know it.
Yeah, the humor in this is kind of off-beat, at least a lot of the jokes in it are not what you see in many movies like this. It kind of walks the line between being an honest action film, and almost, I don't know, maybe a Zucker film with how some of the humor sits. And the humor is probably why it wasn't very well received. I'm not complaining, I actually liked it, but I can see where a lot of people were put off by it. Kind of maybe expecting Lethal Weapon. Don't expect Lethal Weapon, and don't expect Naked Gun. Kind of expect a 90s hybrid that encompasses that little evolution point between the late 80s cinematic tropes and the 90s cinematic tropes. A weird and enjoyable hybrid for the time, and for the genre.
Doug and his pal Skeeter set's out to find the monster of Lucky Duck Lake. Though things get really out of hand when some one blurts out that the monster is real.
A young aspiring screenwriter takes a ride along to research his script. But this is no ordinary ride along: he’s researching for a gangster film. And he may have bitten off more than he can chew.
When Jonathan Jordan gets divorced he's thrust back into the world of being a single Mormon - a world who's ultimate goal is eternal marriage. Struggling to fit in, Jonathan decides to stop going to church only to be pursued by the members of the local singles ward who want to reactivate him. Nothing works until Jonathan falls for Cammie Giles, the ward activities director. Suddenly, going to church becomes much more appealing, But is he going for the right reasons?
The final installment of the Back to the Future trilogy finds Marty digging the trusty DeLorean out of a mineshaft and looking for Doc in the Wild West of 1885. But when their time machine breaks down, the travelers are stranded in a land of spurs. More problems arise when Doc falls for pretty schoolteacher Clara Clayton, and Marty tangles with Buford Tannen.
Spanning the years 1945 to 1955, a chronicle of the fictional Italian-American Corleone crime family. When organized crime family patriarch, Vito Corleone barely survives an attempt on his life, his youngest son, Michael steps in to take care of the would-be killers, launching a campaign of bloody revenge.
In the continuing saga of the Corleone crime family, a young Vito Corleone grows up in Sicily and in 1910s New York. In the 1950s, Michael Corleone attempts to expand the family business into Las Vegas, Hollywood and Cuba.
In the midst of trying to legitimize his business dealings in 1979 New York and Italy, aging mafia don, Michael Corleone seeks forgiveness for his sins while taking a young protege under his wing.
After his long-time girlfriend dumps him, a thirty-year-old record store owner seeks to understand why he is unlucky in love while recounting his "top five breakups of all time".
Axel Foley returns to the land of sunshine and palm trees to investigate the near-fatal shooting of police Captain Andrew Bogomil. With the help of Sgt. Taggart and Det. Rosewood, they soon uncover that the shooting is associated with a series of "alphabet" robberies masterminded by a heartless weapons kingpin—and the chase is on.
A down on his luck young man stumbles into a gang of robbers who all get landed in prison. Will he be reformed, or is he ensnared into a life of crime?