CrawlerChunky In truth, there is barely enough story here to make a film.

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Lucia Ayala It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

cultfilmfreaksdotcom One of the strangest comedies ever made, and unfunniest. Trailing NATIONAL LAMPOON'S ANIMAL HOUSE by five years, you'd expect the boys to try for… something. But this movie lacks madness and couldn't be more sterile and uninteresting.Consisting of three tales, the first has ANIMAL HOUSE alumni Peter Riegert going through an early midlife crisis. He dumps his wife, quits his job and raises his children by himself: while dating a fourteen year old (Diane Lane) and not caring about anything… especially humor.The second is the most bizarre: SUCCESS WANTERS has JAWS 2 ingénue Ann Dunesburry as a beautiful college grad who becomes a stripper – she's raped by horny businessmen using, of all things, margarine and then marries a margarine Mogul and soon becomes a monopolizing widow. Then she's the first lady of the U.S. President and the real first lady's lover. Sounds more enticing than it really is, but Dunesburry looks great as usual.Then we have the last and worst story – although an indie film icon Henry Jaglom directs it (Bob Giraldi helms the first two). In MUNICIPALIANS a starry eyed Robby Benson plays a rookie cop who, unlike his gruff and lazy veteran partner Richard Widmark, wants to take the job seriously. He gets shot and beaten and just about everything else in the Wile E. Coyote tradition and… What does it matter? What does any of it matter? But like a train wreck, you might wanna take a peak. (And the magazine's cartoon artwork between the stories are actually pretty cool.) For More Reviews: www.cultfilmfreaks.com

Michael_Elliott National Lampoon's Movie Madness (1982) 1/2 (out of 4) Extremely bad and embarrassing comedy is perhaps one of the worst that the decade had to offer. This film has three different spoof's of popular movie genres but none of them are funny. The first has Peter Riegert (NATIONAL LAMPOON'S ANIMAL HOUSE) playing a lawyer who asks his wife to leave him so that he can go through some personal growth. The second story deals with a woman who was gang raped with a stick of butter so she sets out to bring them down by making margarine the item to use. The third film has a stupid rookie cop (Robby Benson) tries to track down a serial killer (Christopher Lloyd) who likes to leave a copy of his driver license on the body of his victims. All three stories are incredibly bad but if I had to pick the best one I'd go with the first. It at least has Riegert and his certain style of comedy getting a few laughs and we also have some rather strange nudity. The second film seems to be spoofing TV shows like "Dallas" but it doesn't get any laughs. The third film is just downright annoying because it keeps going and going and never appears to know what it's trying to do. The major fault of this disaster has to be pointed at the screenplay, which just isn't funny. Non of the spoofs are that far out there and one could argue that none of these items needed to be spoofed because their own films did a good job at that. Did we really need this cop comedy when there was something like POLICE ACADEMY out there? The performances are all fair to bad but acting isn't what people come to a film like this for. The second and third films are without any laughs and what's really scary is that there was a fourth film spoofing disaster movies that was cut before the movie was released. With these three shorts being so bad you can't help but wonder how bad the fourth one was for the studio to decide that was the one to leave on the cutting room floor.

lost-in-limbo You can call this one a flop, and that's a very big one too! Quality isn't associated with the words National Lampoon, but at least the Vacation and Animal House entries were fun, but this offering has got to be their most inane feature to date that I've watched. Ugh! The three piece story crazily attempts to parody the clichés and stereotypes that flooded Hollywood genre films, which turns out to be completely unfunny and boorish dross."Growing Yourself." - Jason a corporate lawyer decides to quit his job and split up with his wife so they both can grow and do what they always wanted to do. That's life, as Jason sees it and he takes over looking after the children, but his decision to follow this path might not be the right one.Talk about leaden, boring and stiff. There only real interest is the small performance of the lovely Diane Lane. The satirical element here seems to be pointing out something than actually just delivering it. The silly humour is strained, flat and particularly senseless. Peter Riegert's keeps it very deadpan in the lead role and Teresa Ganzel bubbles along in her role."Success Wanters" - After just finishing collage Dominique Corsair gets a job as a stripper and is rape with some butter by the Dairy Company Presidents. For payback she becomes interested in the margarine industry and virtually works her way to the 'very" top.Probably the best one of the three, but the competition wasn't too great. The gags seem to want go more subtle with its sexual and power orientated tone, but still they do feel more tacky and forced. The idea had something promising and inventive to build on, but the languid pacing begins to wear thin by the end and disastrous dialogue don't do it any favours at all. The humour tries, but more often doesn't come off, despite the hunger. The seductively Ann Dusenberry is pretty cold and manipulative throughout (well after the painful ordeal) and likes to gracefully bare it all quite a bit. Even the skimpy stripper outfit seems to get full workout for the opening half of the story. Popping up in amusing minor cameos ranged from Dick Millar, Mary Woronov, Olympia Dukakis, Fred Willard, Robert Culp and a favourite turn by Joe Spinell."Municipalians" - A serial killer who leaves copies of his driver's licence behind after each murder, is being tracked down by an enthusiastically naive rookie cop and his old grizzled partner. However the young cop learns that being tough is the only way to go, when the pair encounter one situation after another.Stupid! Oh yeah. Sure if you're going to spoof something extremely over-the-top, make sure laughter will stream off it. Obviously they forgot that! Even at its 30 minutes running, boy does it drag! Robby Benson's gratingly mock performance got rather overbearing with a wearied Richard Widmark doing very little as his partner. Christopher Lloyd underplays the role of serial killer, but his creepily wry and sympathetic performance works well and pretty much shows up the other leads. Elisha Cook Jr., Rhea Perlman and Harry Reems appear. When the jokes come, they truly feel out of sync and get rather stale with its repetitiveness of making fun of these cop clichés.In all, the idiotic material laced with its skits comes across as disposable, and the unbearable script is basically inept and witless. Only one or two few gags make it out each segment, but really there's too many cheap stinkers or plain misses which stick in your head. This is because it virtually becomes what it's trying to poke fun at and this basically shows in each story. It loses sight. The performances range from hot to cold, but who can't deny the embarrassment that's felt on most of their faces. Director Bob Giraldi's first taste is a vapid one for "Growing Yourself" , but "Success Wanters" showed some minor flourishes of mild effectiveness. Henry Jaglom does a labouredly jaded job on "Municipalians" . Rick Meyerowitz's vividly crass drawings that opens the film, are neatly devised and go on to set the style and mood.This low-brow comedy flunks it by overplaying it, with the main interested being derived by the familiar cameos. But really, is it worth going through this putridly lame and restless get-up, just to spot them. Well, that's up to you.

world_of_weird National Lampoon was once a funny magazine. Whether you liked the stoner hippie days of the late sixties or the smug and sassy coke-head days of the seventies (when the comedy was fortified with plenty of naked babes) depends very much on your date of birth, but everyone agrees that by the early eighties, middle age had killed off whichever remaining sparks of anarchic humour that the drugs hadn't, and offerings like this film and the increasingly terrible spin-off records shot further holes in the hull. Outside of a nicely illustrated title sequence, there's absolutely nothing to recommend this singularly depressing stinkbug. If you make it through the baffling opening segment, 'Growing Myself', hoping things will get better, tough luck - they don't. Whoever thought the idea of a woman being brutally raped with a stick of butter was comedy gold deserved to have his head handed back to him on a platter of dog mess. If there's ever a global shortage of guitar picks, the negatives of this rambling, incoherent ragbag of crummy ideas and dire performances may well serve some purpose.