Dynamixor
The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.
AutCuddly
Great movie! If you want to be entertained and have a few good laughs, see this movie. The music is also very good,
Griff Lees
Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.
genevaems
I loved this movie since I was a kid. I think people need to remove the sticks that are shoved way up their anus. I love seeing Sylvester Stallone in such a wacky role and he played it so well. It is a decent feel good movie and I find it extremely humorous. Dolly Parton is such a sweetheart and I have always loved her movies. The scene with the Chinese people in the cab was so cheesy it's hilarious. This movie simply does not get the credit it deserves. Even,if for some, it is laughter directed at poking fun, it is still funny. My favorite scene is the God awful angry guy singing about his woman killed by a tractor, man that was so awful it was hilarious!
The_Movie_Cat
Rhinestone isn't such a bad film. In fact, I nearly gave it an average mark. Yet there's just one too many broad comedy moments (the howling dogs alone is worth a loss of a mark) and Stallone is just too self- consciously "comedic" at points, a clear indication of why his return to comedy movies seven years later was destined to never really take off.Yet there are some genuinely amusing moments in this film, and, while far from spectacular, it's probably stronger than the current 3.2 rating would attest. But where Rhinestone is significant is that it's almost the first sign of Stallone really losing his way.To this point his was still producing creditable work, and if early 80s pieces like Escape To Victory were slight misfires, his performance in First Blood showed an actor who still wanted to act, rather than react. But in 1983 the star was paid half a million dollars to place Brown & Williamson products within five of his films, and such an ethically questionable decision presaged a huge drop in his work. This was followed by directing a sequel to Saturday Night Fever, the narcissistic and pointless Staying Alive.While Rhinestone is okay if far from spectacular, it was followed by turning both of his most famous characters into cartoonesque jokes, a failed new character in the shape of the ludicrous Cobra and a laughably bad arm wrestling movie in Over The Top. He saw out the decade with okayish features in Lock Up/Tango and Cash, but the star who entered the 80s as a genuinely worthwhile actor left that same decade as something of a joke.
hunca-2
Quite possibly the worst movie, ever, and way too lame and painful to even be funny. It's so hard to watch Stallone make an utter fool of himself, with his doofus voice ('Duh Duh'), and his weak chin, beaky nose, and bulgy eyes. PAINFUL! How this guy ever got to be Big Box Office is beyond me. I keep wondering how great 'Demolition Man' could have been, with a different male lead, but thankfully, that movie had a fantastic cast and was a solid story.I know Dolly has a huge fanbase, but all I could think, watching the two of them, was how like clowns they both looked. Overblown, overdone, over-inflated. Thank goodness the ladies coming out of country music now are more 'real'-looking.The best performance was by Ron Liebman, who plays a slimeball to such a degree that I felt nauseous.Parton and Stallone have absolutely no chemistry, and the music, such as it is, is horrendously awful. Protect yourself; do not ever watch this movie.
HughBennie-777
About as funny as an abortion. Watching Sylvester Stallone do comedy is like watching a jock in cheerleader attire dance at a high-school pep assembly; humor for the complacent-minded, the brain-damaged conformist, or your average sports enthusiast/Jim Belushi fan. The attempts at comedy in this flick are so crippled, so castrated, so anemic in intension, construction, and delivery, one almost feels light-headed with embarrassment. Stallone is NYC cabbie Nick Martinelli who's being groomed for country singer-stardom by Dolly Parton. This task, the movie reminds us, constantly, is as challenging as it will be ripe with comedic adventures--none of which the movie delivers. For the first hour, "Rhinestone" plays like a harmless, 1984 sitcom pilot. In its last 30 minutes, director Bob Clark decides (or was forced) to let a shameless, ego-dripping Stallone engage in enough free-for-all mugging, ad-libbing, facial slapstick, and moments of smirking self-mockery to make fans of Clint Eastwood's monkey movies appear subscribers to Cineaste. You know a comedy is doomed when so much self-indulgent effort on the part of its star can't compete with a sight gag of him stepping in a cow pie. I don't see how the supporting cast were able to function on this movie, aware of the fact that they were creating the comedy equivalent of a snuff film. And by the 3rd week of production, out of devotion to Rocky or Rambo, didn't the crew members feel compelled to ask, "Do I have to come to set, today?", this not out of spite for Stallone's vanity project, itself, but to not contribute to the humiliating spectacle of Stallone's self-immolation. In one memorable scene, Parton strums a guitar in her room, singing: "I stroke your perfect body..." Stallone interrupts by entering the room. Parton replies, "Perfect timing, perfect body." It's a romantic interlude almost as stirring as Stallone's musical numbers which the viewer, with his/her abdominal cavity slowly filling with dread (and nausea), soon realizes is actually meant to be taken seriously. Noisy, obnoxious, the flick lacks even a shred of bad-movie criteria for a night of laughs at the expense of its cheesiness. Rent "Staying Alive" if you want some legitimate, inadvertent hilarity. Here, the guffawing, over-acting movie extras in the background--compared to Stallone in the foreground--are preferable camera subjects. Here, sadly, the late Bob Clark engineers a train wreck of a movie.
