Perhaps it's because I came in with bottom-of-the-barrel expectations for a movie I've heard absolutely nothing good about, but I found myself enjoying "O.C. and Stiggs" quite a lot. I know from experience how bad bad Altman can be, so I expected the worst. But if you share Altman's smart-ass sense of humor, as I do, I can't help but think that you'll find this movie pretty funny.
The very nominal plot has something to do with two adolescents (the O.C. and Stiggs of the title) spending one summer terrorizing an affluent, middle class family because the patriarch (played with just the right amount of buffoonery by Paul Dooley), head of an insurance company, has denied insurance for O.C.'s grandfather (played uproariously by Ray Walston). But let me stress the word "nominal." This narrative loosely holds together what can otherwise only be described as controlled chaos. In typical Altman fashion, the film is an assemblage of barely choreographed scenes in which actors wander around ad-libbing to their hearts' content. This is not an insult. This style has resulted in some dreadful bombs for Altman, but it's also been responsible for some of his inspired classics. "O.C. and Stiggs" is nowhere near the latter, but it's certainly not the former either.
Altman said in interviews that he intended "O.C. and Stiggs" as a satire of all of those naughty "boys behaving badly" comedies popular in the 1980s. I don't know that it's so much a satire of those films as it is on people in general. It's full of a sneering disdain for a sort of vapid, bourgeois lifestyle that rears its head in much of Altman's work. Scottsdale, Arizona is depicted as a bland land of lawn ornaments, plastic furniture and man-made nature. We don't learn much about O.C. and Stiggs, and they're not even necessarily that likable, but neither are the Schwabbs, the family they torment, and anyway Altman doesn't really ask us to root for anyone but rather just enjoy the silliness. The funniest thing about the film is that the Schwabbs seem to be completely unaware that they're being tormented and instead wander around in a self-absorbed daze.
The rest of the cast includes Jane Curtin, as the boozy matriarch; Martin Mull, as a designer of African fashions; Cynthia Nixon, as a love interest; Jon Cryer, as a dweeb; and best of all, Dennis Hopper, reprising his role from "Apocalypse Now," and who features significantly in the film's climax, a shootout in the Schwabbs' bomb shelter.
It would appear that time has been kind to this utterly dismissed film from the mid-1980s, and you could do much worse from Robert Altman's canon alone, let alone from other films in the same genre.
Grade: B
The very nominal plot has something to do with two adolescents (the O.C. and Stiggs of the title) spending one summer terrorizing an affluent, middle class family because the patriarch (played with just the right amount of buffoonery by Paul Dooley), head of an insurance company, has denied insurance for O.C.'s grandfather (played uproariously by Ray Walston). But let me stress the word "nominal." This narrative loosely holds together what can otherwise only be described as controlled chaos. In typical Altman fashion, the film is an assemblage of barely choreographed scenes in which actors wander around ad-libbing to their hearts' content. This is not an insult. This style has resulted in some dreadful bombs for Altman, but it's also been responsible for some of his inspired classics. "O.C. and Stiggs" is nowhere near the latter, but it's certainly not the former either.
Altman said in interviews that he intended "O.C. and Stiggs" as a satire of all of those naughty "boys behaving badly" comedies popular in the 1980s. I don't know that it's so much a satire of those films as it is on people in general. It's full of a sneering disdain for a sort of vapid, bourgeois lifestyle that rears its head in much of Altman's work. Scottsdale, Arizona is depicted as a bland land of lawn ornaments, plastic furniture and man-made nature. We don't learn much about O.C. and Stiggs, and they're not even necessarily that likable, but neither are the Schwabbs, the family they torment, and anyway Altman doesn't really ask us to root for anyone but rather just enjoy the silliness. The funniest thing about the film is that the Schwabbs seem to be completely unaware that they're being tormented and instead wander around in a self-absorbed daze.
The rest of the cast includes Jane Curtin, as the boozy matriarch; Martin Mull, as a designer of African fashions; Cynthia Nixon, as a love interest; Jon Cryer, as a dweeb; and best of all, Dennis Hopper, reprising his role from "Apocalypse Now," and who features significantly in the film's climax, a shootout in the Schwabbs' bomb shelter.
It would appear that time has been kind to this utterly dismissed film from the mid-1980s, and you could do much worse from Robert Altman's canon alone, let alone from other films in the same genre.
Grade: B