Director Fritz Kiersch made the drab "Children Of The Corn". Fortunately, this is anything but drab. James Spader is terrific as a rebellious youth whose family moves from Connecticut to Los Angeles. He gets himself embroiled in some very nasty trouble almost right away when he inadvertently tangles with local sociopath Nick Hauser, played with creepy authenticity by Paul Mones. The fact that Spader has an eye for the stunning girlfriend of Mones, Kim Richards, doesn't help his situation, either, but it's a great set-up for a violent, fast-paced teen flick.
After this little gem, Spader starred as one of the screen's greatest miscreants, Eddie Dutra, in Sean Cunningham's incredible "The New Kids" (see my review). Then, "Sex Lies and Videotape" gave Spader's career a big shot in the arm and took him miles away from roles like this, at least for a decade or so.
"Tuff Turf" has a mean streak and isn't afraid to lather on the violence and bloodshed. Kiersch's direction is energetic and tight, and he is ably assisted in the atmosphere department by composer Jonathan Elias, who delivers a pumping, moody synth score. Kim Richards, with her long straight hair and sexy wardrobe, personifies a teen lust object, and injects her role with more than a little subtlety. A very young Robert Downey Jr. has a subordinate role as Hauser's only friend and acquits himself well.
The film's climax, set in a warehouse, is brutal and bloody, and the sequence in which Spader's bicycle is destroyed demonstrates virtuoso cutting, sound design and cinematography. This is a very well made movie with plenty of "attitude" and lots of style.
After this little gem, Spader starred as one of the screen's greatest miscreants, Eddie Dutra, in Sean Cunningham's incredible "The New Kids" (see my review). Then, "Sex Lies and Videotape" gave Spader's career a big shot in the arm and took him miles away from roles like this, at least for a decade or so.
"Tuff Turf" has a mean streak and isn't afraid to lather on the violence and bloodshed. Kiersch's direction is energetic and tight, and he is ably assisted in the atmosphere department by composer Jonathan Elias, who delivers a pumping, moody synth score. Kim Richards, with her long straight hair and sexy wardrobe, personifies a teen lust object, and injects her role with more than a little subtlety. A very young Robert Downey Jr. has a subordinate role as Hauser's only friend and acquits himself well.
The film's climax, set in a warehouse, is brutal and bloody, and the sequence in which Spader's bicycle is destroyed demonstrates virtuoso cutting, sound design and cinematography. This is a very well made movie with plenty of "attitude" and lots of style.