I have to shamelessly admit, I have not laughed this hard in a movie theater in a very long time.  Big Trouble is an example of what happens if you strip away all of the unnecessary clutter that most films throw in for whatever reason.  It focuses on one story, the odd assortment of characters and interactions, and the resulting mayhem that ensues, and wastes no time on anything else.  The humor is rapid fire, and laced with pop culture and eccentric references (from Martha Stewart, to televised aerobic contests, to Fritos corn chips, to rabid, but intellectually challenged sports fans) and wastes little time on anything that would complicate a plot that keeps unfolding, and refolding, and starting over, similar to a frustrated traveler battling with a roadmap.  It is hilarious, with both sight gags (a vengeful, hallucinogenic spewing toad) and smart, sharp and observant dialogue (most provided by the unofficial voice of sensibility, Dennis Farina) all wrapped up in a tight little package with an underlying message of people searching for happiness, which sometimes just need a bomb, figuratively or literally, dropped into their lives. 

I could try to explain the plot here, but I would never do it the comedic justice that Levinson and company do, but I will give you an idea.  The story centers around, and is set into motion by, a failed hit attempt at the house of an arrogant Miami businessman (the only person in the state of Florida who "meant" to vote for Pat Buchanan).  Then there is a mysterious silver suitcase (homage to Pulp Fiction) containing something explosive that resembles a trash compactor.  Mix in a homeless, Frito-obsessed man has come town in search of Cuban food, Russian arms dealers, a former writer, now advertising agent, whose son sees him as a loser,  botched assassination attempts, kidnapping, local cops, FBI agents working under “Special Executive Order”, two of the dumbest criminals in the history of crime, a dog who is a result of canine genetics gone really wrong, a hallucinogen spewing toad and of course goats    I have only just begun, believe me, it would almost take me as long as the movie’s compact 85 minute running time to explain it all.  The characters reactions to the seemingly unbelievable goings on, range from cavalier, to non-existant, as if these people had resigned themselves to the fact that strange things happen everyday in life, and the best thing to do is just ride them out, and follow the path to see what happens and where it goes.  If you happen to find a kindred soul along the way, then all the better.   Based on a story by social satirist Dave Barry, and given to us by the controlled, yet manic hand of Barry Sonnenfeld, Big Trouble could have easily degraded into a slapstick mess of pointless humor.  Barry always finds the ironic rationality of real life, in its minutia in comparison to the big picture.  So trying to explain or even give you anymore of an idea about the plot would be to rob this film of its most gleeful revelatory pleasure.  Instead, the end result becomes a near spoof of crime films, like Pulp Fiction and Reservoir Dogs handled with a playful, yet coincidental glee, by Sonnenfeld and company.  Granted, the subject matter, in light of recent events, may be hard to swallow or watch.  The film was delayed after Sept 11^th, and it isn’t hard to see why, since the movies climax involves airplanes, airport security and explosives.  But there does come a time when the healing has to begin, and we have to look and move forward in an honorary way, never forgetting, but finding our smiles again.  We must get back to as close to the way things were as we can, and part of this therapy is through the use of the cinema.  Sonnenfeld and company must have redone the ending, as it does seem a little disjointed from the rest of the film.  Still, there are way too many moments of everyday mania, that befalls most of us, combined with the oddities of things that are too strange to believe, yet too possible to discount as implausible. 

The film is ripe with hilarious dialogue, some you’ve seen in the previews, which still work, and others delivered usually by Farina, or Deschanel (as the common sense, sarcastic teen daughter of Russo and Tucci) who seem to be the most intelligent, observant players in this game.  It is dialogue that we could easily see using, given the stimuli and circumstance that these characters are put through within the 48 hours of film time.  The cast is so crowded, yet each character is clearly defined and understandable in motive, action, reaction frustration and just pure human emotion.   Each fill their niche perfectly, from Lee’s calm cool, mantra loving demeanor, to Farina’s rational frustration at the absurdity of things, to Tucci’s elated, egotistical glee, to Sizemore and Knoxville’s pitch perfect buffoonery, to the monotone, by the book, actions of Warburton and Garofalo (whose chemistry, like all of the other duos in the film, melds perfectly) to the numerous other people and animals, who keep reappearing at the most inopportune, but believable times. Sonnenfeld shows an Altman-esque ability to develop and utilize character completely, and weave them into a surprisingly easy to follow, but complex plot.  Their frantic organized madness mirrors the mood and attitude that the majority of the film projects.  

Ultimately, Big Trouble is one of the funniest, and well-done, crime movies that you’ll see in a long time.  It is reality, dipped in a dose of Tarantino (complete with onscreen times, and the briefcase) and served up in machine gun, relentless style that never lets up once it gets going.  There are long sequences of almost domino effect style humor, with things cascading, falling and crashing into each other, spinning off, and causing more mayhem.  It is a guilty delight, for those who give it a chance.  This movie’s intentions, humor, and general aura come from a different time, and a different place, when we were all different people, but can serve as a reminder of where we can try to come back to.  This is not just a film about criminals, love, or violence, but about finding that compatible soul to ride through life’s madness with.   A deep message, from a film that doesn’t have to try to hard, or shove it down your throat, but rather ascertain with smiles, breathless laughter, and relatable situations.  You shouldn’t have to put much thought into enjoying this movie, just sit back, absorb each of the characters as they are introduced, and skip happily behind Sonnenfeld and company as they give us their view of the world, through very slanted, but highly observant glasses.

Agree? Disagree, Questions? Comments?

Tell Me Here