Dangerous Attraction

Cry Baby (Director's Cut)

John Waters's goofy, 1990 comedy about a Baltimore girl (Amy Locane) who can't decide if she should remain "good" in her 1954 world or hang out with the motorcycle boys is funny in a scene-by-scene way, but doesn't quite gel into the grand piece the director was hoping for. The cast is exceptionally likable, however, including Johnny Depp as an Elvis type and Iggy Pop as a chattering loony. The best material is set in a fringe world of bikers and losers on the outskirts of town, and Waters writes some hilarious sardonic dialogue for the characters. Cry-Baby is the last of Waters's more undisciplined features; he followed it with the glossier but no less perverse Serial Mom. --Tom Keogh

Delicatessen

The title credit for Delicatessen reads "Presented by Terry Gilliam," and it's easy to understand why the director of Brazil was so supportive of this outrageously black French comedy from 1991. Like Gilliam, French codirectors Jean-Pierre Jeunet and Marc Caro have wildly inventive imaginations that gravitate to the darker absurdities of human behavior, and their visual extravagance is matched by impressive technical skill. Here, making their feature debut, Jeunet and Caro present a postapocalyptic scenario set entirely in a dank and gloomy building where the landlord operates a delicatessen on the ground floor. But this is an altogether meatless world, so the butcher-landlord keeps his customers happy by chopping unsuspecting victims into cutlets, and he's sharpening his knife for a new tenant (French comic actor Dominque Pinon) who's got the hots for the butcher's nearsighted daughter! Delicatessen is a feast (if you will) of hilarious vignettes, slapstick gags, and sweetly eccentric characters, including a man in a swampy room full of frogs, a woman doggedly determined to commit suicide (she never gets its right), and a pair of brothers who make toy sound boxes that "moo" like cows. It doesn't amount to much as a story, but that hardly matters; this is the kind of comedy that springs from a unique wellspring of imagination and inspiration, and it's handled with such visual virtuosity that you can't help but be mesmerized. There's some priceless comedy happening here, some of which is so inventive that you may feel the urge to stand up and cheer. --Jeff Shannon

From Jean-Pierre Jeunet, the award-winning director of AMÉLIE, comes a unique and surreal dark comedy that received overwhelming critical acclaim! In a post-apocalyptic society where meat is scarce, cannibalism is no longer unsavory. And when a young ex-clown takes a job in a dilapidated deli, he's completely unaware that the butcher plans to serve him to the building's bizarre tenants! But when the butcher's nearsighted daughter falls for the clown, she'll go to absurd lengths to foil her father's plan! Loaded with tasty bonus features, this bonafide cult classic now premieres on DVD!

So I Married an Axe Murderer

Mike Myers's first feature role without his Wayne's World wig is a performance at odds with the best interests of the movie. Myers plays a single guy who always manages to find something seriously wrong with each of his girlfriends. His new love (Nancy Travis), a butcher, may be the perfect woman, except for one thing: she might be a "black-widow" killer who prefers dispatching husbands with a sharp instrument. Robbie Fox's original script has a fine shape and strong, black-comedy material within it. But Myers creates unnecessary dissonance by playing a variety of characters (including an irascible Scotsman like the one he often played on Saturday Night Live) and accenting his skills as an improvisational comic (such as impersonating the soothing cadences of a massage therapist). It's not that Myers isn't funny doing all that, but it has nothing to do with the movie. Directed by Thomas Schlamme (Miss Firecracker). --Tom Keogh

Love at First Bite

Dracula has never been so funny and dashing - to say nothing of being an awesome disco dancer - as in this "delightful movie with a bang-up cast" (The New York Times) led by the epitome of suave, George Hamilton, and featuring first-rate performances from Susan Saint James, Richard Benjamin, Dick Shawn, Arte Johnson, Sherman Hemsley and Isabel Sanford! Evicted from Transylvania, Dracula (Hamilton) goes to New York to make Cindy (Saint James), a model with an old soul, his eternal bride. To his delight, she quickly falls for his necking style. But when her would-be boyfriend (Benjamin), a descendant of the vampire-killing Van Helsings, meets his romantic rival, he's determined to put a stake in the count's plans!

To Die For

If anyone ever doubts whether Nicole Kidman is a good actress, they should immediately be required to watch this outrageously wicked comedy from 1995, for which Kidman deservedly won a Golden Globe for Best Actress in a Leading Role. While director Gus Van Sant handles the fact-based satire with razor-sharp precision, Kidman delivers a deliciously devious performance as Suzanne Stone, a small-town New Hampshire housewife who fancies herself the next Barbara Walters, Jane Pauley, Diane Sawyer, and Maria Shriver all rolled up into one meticulously coiffed package. So determined is she to have a successful career on TV that she'll stop at nothing--even the calculated murder of her husband (Matt Dillon)--to get the attention she feels entitled to. To carry out her scheme she recruits some unwitting local teenagers including one boy (Joaquin Phoenix, matching Kidman's excellence) whose infatuation with Suzanne leads to sexual escapades and predictably troublesome consequences. It's a satirical comedy in Van Sant's capable hands, but it's so close to tabloid reality that the film never seems implausible--which only gives it a funnier, more blood-chilling quality of humor. Featuring Illeanna Douglas, George Segal, and Seinfeld alumnus Wayne Knight in memorable supporting roles, this is one of the best comedies of the '90s--especially if you prefer comedies with a decidedly darker edge. --Jeff Shannon

Into the Night

While caught up in the scandal resulting from the accident on the set of The Twilight Zone movie that killed actor Vic Morrow and two children, director John Landis (An American Werewolf in London) made this manic nighttime L.A. thriller with rising stars Jeff Goldblum and Michelle Pfeiffer. Goldblum plays an office worker with a dead-end job, an unfaithful wife, and a bad, bad case of insomnia. Unable to sleep, his midnight wanderings take him to the L.A. airport, where beautiful jewel smuggler Pfeiffer literally lands on his car. Fleeing Iranian terrorists (one is played by Landis), the two hit the road, and their adventures lead them to murder, mayhem, one scary hit man (David Bowie in a lurid, terrific cameo), and, of course, romance. Perhaps because of--or in spite of--the turmoil going on in his life, Landis fashioned a film unlike any of his previous (or later) safe Hollywood products; this is inventive, darkly comic, sincerely romantic, and L.A.-style sultry all the way. Landis's greatest success is perhaps in the mood of the film: he manages to convey that weary, dreamlike insomnia feeling of adrenaline bordering on exhaustion. Goldblum is at his deadpan best and, despite a bad haircut and '80s wardrobe, Pfeiffer shows the spark and beauty that would later make her a star. In support of Landis during his time of trouble, numerous directors, including David Cronenberg, Paul Mazursky, Don Siegel, Jonathan Demme, Lawrence Kasdan, and Jim Henson, made cameo appearances. --Mark Englehart

Her Alibi

To see why Tom Selleck's movie career has been a constant uphill battle, look no further than this tepid mystery/comedy from 1989. Selleck plays a successful mystery novelist who cures a persistent case of writer's block by visiting the courtroom trial of a young Romanian woman named Nina (played by late '80s supermodel Paulina Porizkova) who has been accused of murder. He supplies the alleged murderer with an alibi--she can claim she was having an affair with him at his Connecticut country home at the time of the murder--and then he brings her to Connecticut to make the alibi look legitimate. Is she in fact a killer? Did she serve poisoned casserole to a group of dinner guests? You'd have to be a major fan of Selleck or Porizkova to want to find out what happens next, because despite a few light moments of engaging comedy this is the kind of nonsensical fluff that quickly wears out its welcome. --Jeff Shannon

Innocent Blood

John Landis was the perfect director for Innocent Blood, a horror-comedy hybrid that does for French vampires in Pittsburgh what Landis's An American Werewolf in London did for hungry lycanthropes in Picadilly Square. Anne Parillaud, the sexy star of La Femme Nikita, is perfectly cast as a beguiling vampire who must feed regularly on human blood, and when she spots a local Mafia kingpin (Robert Loggia), she says to herself, "I think I'll try Italian!" But once the Mafioso realizes he's now an undead vampire, he goes on a rampant crusade of bloodthirsty vengeance, biting his soldiers and consigliere (Don Rickles, no less!) to recruit an army of undead henchmen. Pretty soon Parillaud's teamed up with an undercover cop (Anthony LaPaglia) in an attempt to stop her victims from proliferating throughout the Pittsburgh underworld. (Disconnecting the central nervous system will kill a bloodsucker, and the powerful Parillaud can snap necks as efficiently as she bites them.)

Landis keeps it all moving at a raucous pace, favoring humor without sacrificing intelligent plotting and interesting characters. Parillaud evokes sympathy even when her eyes glow fiery red and she's ripping the throats out of her victims--hey, she's only trying to survive, right? And Loggia takes one of his best-ever roles and runs with it, spouting lines of Mafioso dialogue made hilarious by the fact that he's a walking, blood-soaked corpse. Morbid humor and gruesome makeup are abundant here, as well as Landis's trademark inclusion of cameos by such horror-movie icons as Dario Argento, Sam Raimi, and monster-fan extraordinaire Forrest J. Ackerman. With tenderness, toughness, a dash of kink, and plenty of laughs, this is the kind of guilty pleasure that includes "I've Got You Under My Skin" on the soundtrack, just for the sheer enjoyment of a campy double-entendre. How can you resist? --Jeff Shannon

Girl From Rio

Fatal Instinct

Carl Reiner tried to give the Mel Brooks treatment to the Fatal Attraction/Basic Instinct genre of films about vicious, conniving women and the not-so-bright men who get involved with them. In this case, it's Armand Assante, an actor not particularly known for his comedic chops. He plays a guy who is both a police detective and a defense attorney, so he can defend the people he arrests. He becomes the target of a female stalker (Sean Young, in a bit of typecasting), as well as the dupe in a murder plot involving his wife (Kate Nelligan). Reiner takes a scattershot approach to comedy, hoping to play in the same ballpark as the Zucker brothers or Brooks. While he hits a few singles and the occasional double, he never knocks a joke out of the park and so the movie winds up with an awful lot of pop fouls. --Marshall Fine

A hot chick with an ice pick takes a stab at loveand laughter in this hysterically funny spooffrom the director of The Jerk and Dead Men Don't Wear Plaid. As the all-star cast pokes hilarious fun at such steamy thrillers as Basic Instinct, Fatal Attraction, Sleeping with the Enemy and Cape Fear. Lana. Laura. Lola. They're beautiful, sexy and all after Ned Ravine! One wants to marry him. One wants to kill him. And the other just plain wants him dead or alive!