Dangerous Curves (1988)
A college graduate is offered a deal of a lifetime - deliver a Porsche for a client and join the company of your dreams in return. When the car gets stolen, he and his friend must go to a beauty pageant run by the thief to get it back.
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Slow pace in the most part of the movie.
At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.
This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.
The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.
In a film seemingly not supervised by a director, two California college roommates, Chuck (Tate Donovan) and Wally (Grant Heslov) take part in a vapid adventure obviously targeted at a barely pubescent audience. Chuck has an opportunity of which he has dreamed, to work for a large corporation where he will begin at $60000 per year, if he will complete a pre-employment assignment for the CEO (Robert Stack), a friend of Chuck's father. His duty is to deliver an expensive new Porsche, a birthday gift to the CEO's daughter in Lake Tahoe, but naturally complications occur due to Wally, the irresponsible friend of Chuck. Wally convinces Chuck to first utilize the Porsche as "bikini bait" in San Diego, where there is coincidentally a scheduled beauty pageant, and where the car is stolen. The manipulation of Chuck by Wally makes little sense throughout this affair, but sensible behaviour is not readily found within the script, as it would only interfere with pratfalls and bathing suit competitions. It is enough to mention, as ever with this type of film, a providential solution is found for personal relationship problems and that no one seems to mind if logic vanishes along the way. A payday is given to veterans Stack, Leslie Nielsen and Elizabeth Ashley, all of whom essentially create their roles, and a bright spot is a performance by funnyman Robert Klein, with his usual off-kilter derelict, in this instance an aging surfer. Poorly written and edited, this picture can yet claim freedom from any mean-spirited component, its most offensive facet being that the viewing of it is fundamentally a waste of time.