Cannoball will please those who won't rest until they see every car in creation destroyed and aflame.
The sophisticated story line puts David Carradine, Bill McKinney and various other drivers and characters in autos in Los Angeles and promises $100,000 to the first to arrive in New York. Surely, goodness, mercy and high octane will triumph over villainy with lead in their guns, if not in their gas.
That's not to say Cannonball has no appeal beyond the crash crowd. It's full of handy highway hints, like what to do when someone steals your jack and then blasts your back tire apart with a pistol.
Best of all, though, is Carradine's inspirational automotive fortitude. When frustrated, he spins in circles, kicks his wheels, mutters oaths – just like the average weekend driver.
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Cannoball will please those who won't rest until they see every car in creation destroyed and aflame.
The sophisticated story line puts David Carradine, Bill McKinney and various other drivers and characters in autos in Los Angeles and promises $100,000 to the first to arrive in New York. Surely, goodness, mercy and high octane will triumph over villainy with lead in their guns, if not in their gas.
That's not to say Cannonball has no appeal beyond the crash crowd. It's full of handy highway hints, like what to do when someone steals your jack and then blasts your back tire apart with a pistol.
Best of all, though, is Carradine's inspirational automotive fortitude. When frustrated, he spins in circles, kicks his wheels, mutters oaths – just like the average weekend driver.
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Goldblum is just right for the role. Even under normal circumstances
he often seems to be trying to tune into a clouded frequency. Here he spends
the whole movie doing that — getting his wife to
shut up while he looks off into space, listening, nodding and saying things
like, “Sweetie, that girl isn't missing . . . she's dead.''
It's a signature quality of Goldblum's, his being able to say anything
from “How are you?'' to “She's dead'' in the same tone of
voice, and have it seem perfectly natural.
Goldblum is always enjoyable, but in “Hideaway,'' now available on
home video, that means only that he makes a tedious film intermittently
tolerable. From the minute his visions begin, the course of “The Hideaway''
is inevitable. The story must converge in a confrontation between nice-guy
Hatch (Goldblum) and the psycho (Jeremy Sisto). The rest is waiting.
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