Hollywood in late 1980s was scrapping the bottom of the barrel in search for next original concept for buddy cop film. Such efforts resulted in Loose Cannons, 1990 action comedy directed by Bob Clark, one of the more bizarre, but also one of the worst films of its time.
The nominal protagonist, played by Gene Hackman, is Detective MacArthur “Mac” Stern, veteran detective in D.C. Metropolitan PD. Due to his experience in vice squad, he is assigned to investigate series of the brutal murders of people associated with pornographic industry. He is assigned a new partner, Detective Ellis Fielding, man with brilliant analytical mind who is able to reconstruct the most complex crimes and find hidden clues. The only problem with Fielding is that he suffers from multiple personality disorder and takes different identities whenever he is exposed to violence or feels too anxious. Stern and Fielding nevertheless establish trail of clues that lead them to Harry “The Hippo” Gutterman (played by Dom DeLuise), pornographic tycoon that explains how he was offered what he believed to be an old film showing Nazi leader Adolf Hitler having sex. It turned out that the film actually showed Hitler’s ritual suicide and that one of the persons on it was young SS officer who, years later, became Kurt von Metz (played by Robert Prosky), powerful West German politician who is about to become country’s next chancellor. Von Metz, in order to prevent the film from seeing the light of day, sent small army of mercenaries and assassins led by psychotic Grimmer (played by Paul Koslo). Stern and Fielding now must protect Gutterman, find the actual film, while being impeded by inept FBI agent Bob Smiley (played by Ronny Cox) and helped by Mossad agents led by Rebecca “Riva” Lowengrin (played by Nancy Travis).
Basic idea in the script written by Bob Clark, famous science fiction writer Richard Matheson and his son Richard Christian Matheson – having renegade street smart policeman being revealed as straight man, while his seemingly normal by-the-book partner revealed as raging lunatic – wasn’t bad per se, but it was terribly executed. The main problem is almost complete lack of humour, with Dan Aykroyd apparently believing that series of impersonations from celebrities and popular fictional characters in seemingly inappropriate moments would be enough. This routine quickly becomes annoying and even the presence of comic legend Dom DeLuise is wasted, because script doesn’t offers him any particularly funny lines; DeLuise, on the other hand, liked the film as one of the rare opportunity to fire automatic weapon in one scene, but that was not as entertaining for the audience as for him. Another problem with the film is too much violence, and some of it being quite graphic, for a film which is supposed to be comedy. On the other hand, despite having pornographer as one of the main character and having some of the plot taking place in his sex clubs, Loose Cannons lacks any nudity, just like with so many hypocritical Hollywood productions that considered bloodbath less insulting to audience than sex.
The plot was in most likelihood inspired with the controversies related to Kurt Waldheim, renowned Austrian diplomat and former General Secretary of UN, who, while running for country’s president, faced widespread accusations of being involved in Nazi atrocities while serving as German soldier in Balkans during WW2. The affair, which could have inspired something thought-provoking political thriller, instead served as inspiration for a forgettable action comedy. Bob Clark, director who had some successes in the past, seemed quite uninspired and, despite providing quick pace, made experience unpleasant for viewers. The cast was mostly wasted, which included main star Hackman and supporting players like Paul Koslo as almost comical henchman, Robert Prosky as unconvincing villain and Ronny Cox in the completely useless role of FBI bureaucrat. Nancy Travis, brought mostly to serve as eye candy, tries something different with Israeli accent, but her efforts, like everyone else’s in this film, are for naught. And to make things even worse, even the end titles, that should bring something of a relief to suffering audience, feature terrible theme song performed by Katey Sagal and Aykroyd. Even the Tri-Star Pictures executives were aware that they had stinker on their hands and the film, originally shot in 1988, was quietly released in early 1990, becoming major box office flop and getting savaged by critics, a sentiment many years later shared by Dan Aykroyd himself.
RATING: 2/10 (-)
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