O.C. and Stiggs

Once again, we find a movie where talent has been wasted, and so has our time. There is not a single character who comes off as terribly likable, and so the viewer is left with no one to cheer for. And can someone PLEASE tell me why Dennis Hopper made so many bad movies during this time of his life? B-O-M-B!

ignore all other commentaries!! junior is your messiah and this flick is unbeatable.......consistantly hilarious and unpredictable, with music from King Sunny Ade + the Sunshine band.....stop staring at this screen, exit the building and find/borrow/beg/steal/pillage/conjure a copy of this movie for your personal viewage or die in the attempt.... do it now........

This film is fantastically understated and has within it the foundations of excellence. O.C and Stiggs is what great film making is all about - bringing to life an environment that is high fiction but could truly exist somewhere. Made in 1987, it has all the hall marks of a film made in the late sixties to early seventies. Good films of that time felt free and progressive. Real classics kind of exist in a little world of their own, and this is just that sort.

I am a huge fan of the original National Lampoon articles about O.C and Stiggs, and sadly, this movie captures little of the glory of those stories. Still, there are a few good moments, such as when King Sunny Ade and his African Beats are playing, and also when they show any exterior shot (the movie was filmed around Mesa and Phoenix, AZ). Also, I still remember the primal screams of "SCHWAAAAAAAAAB!!" when I think of this movie. The torture the Schwab family endures will most always bring a smile to my face. I think the biggest problems with this movie lie in the fact that the original O.C. and Stiggs articles were very 'out-there', some of the concepts were not P.C. for even then in the late 80s. One article related how they put a hayride together and made all the mentally challenged kids at one school ride in it, and how OC & S each got oral sex from one of the kids. This kinda storyline does not make a movie producer automatically start scrambling for the checkbook. So these non-PC (frankly, audience-scaring) ideas had to be 'toned down', to the point where the producers lost the core audience they were shooting for in the first place. Another area that needed work was the plot. It's pretty thin, even for this type of movie. The boys want King Sunny Ade to play a concert in town, so they do what they can to make it happen (Let's put on a bake sale!). That's it. As blah as this movie was, I still recommend it if only for the music. I can't wait until it finally comes out on DVD.

No, it's not a failure. It's not good either. It's simply one of the oddest ducks of 80's comedies - trying to be both an actual National Lampoon movie (it's based on one of the stories from the magazine, which I'm not sure), and a satire of them and teen comedies. Trouble is, I couldn't really tell. It felt more like Altman reaching further than he did with MASH to make a completely anarchic, tasteless comedy about a couple of guys (in this case Daniel Jenkins and Neill Barry are FAR from the talents of Eliot Gould and Donald Sutherland) who just want to stir up the sh*t in middle-upper class Arizona and have some fun. Only this time there's no war going on or people to fix up in a hospital. What is there to do? Uh... I was glad it wasn't just some assembly-line thing. It is an Altman movie, to the bone, so loose and free that you have to watch moment to moment because there isn't anything CLOSE to a plot here. It's just a semblance of vignettes around what OC and Stiggs did on their summer break (not their real names, and as OC says, one of my big laughs, is that "Call me OC, it sounds more ridiculous"). Make a wild car that is $100 off the lot and can be decked out to look like a monster-truck- Studebaker? Check. Bring a machine gun as a wedding present for a very unsatisfactory wedding? Check. Make friends and give out t-shirts from the Schwab insurance company to Melvin Van Peebles? Oh hell yeah a check. How about a trip to Mexico to snag an African band to later crash a theater production on its opening night? Uh... hey, it IS a National Lampoon movie.... sorta, not really, whatever. I was fascinated by OC and Stiggs, no question there. Sometimes I was laughing, more for the little beats of oddball behavior that Altman was always known for sprinkling in. Ray Walston as the grandfather, while no more or less one note than any of the other supporting (or lead?) characters, is maybe the funniest most consistently, rambling about extreme acts of violence in stories and making outrageous omelette's and drink concoctions that he correctly predicts make one more prone to sex. And while he's not as funny as I'd hoped, Dennis Hopper also has a fun appearance playing his Photo-Journalist from Apocalypse Now - that is, if the Photo-Journalist ended up having lots of guns, ammo, and marijuana to grow out in the fields, uh, somewhere. The whole project, from some of the casting (hey, Jane Curtain and, uh, future stars Cynthia Nixon and Jon Cryer) to how bizarre some of the set pieces get (skinny dipping again in the Schwab's pool? Hey, there's a tiki backyard next door!), is like a big stunt on Altman's part. And why not? His career was full of them, from doing a shaggy-dog take on the Long Goodbye to his madcap take on Popeye. But the main characters are so obnoxious that the power of the satire just became lost, and I wasn't sure if the line not simply got blurred between doing an actual teen comedy and a satire of it but that the line was screwed altogether. Over time the film seems to have gotten a small cult - maybe apologists, maybe people who genuinely like it after it unfortunately (or maybe rightfully) bombed after being shelved for two years - but it still doesn't make it top shelf work from this director. The style is just so all over the place that maybe, at best, it could work as a wild-card party movie, like throw it on, dip in and out, get laughs where they suddenly, outrageously, pop up, and skip over some of the lesser points. C+

This movie is not for the masses. In fact, it's probably not even suitable for a major cult following. But if you see it, you'll either like it or hate it. Major plot developments happen off camera, or while multiple people are talking. Very typical Robert Altman style, but definitely more off-beat since it is based on two characters from National Lampoon magazine. If you're the kind of person that needs to identify with and/or like at least one character in the movie, you may find yourself searching throughout the whole film. Don't expect a pause in the action to laugh, which, if this movie agrees with you, you'll be doing often as these two teenagers deal with a bad situation through harassment and booze.

Like most Altman films, you either love it or hate it. Unlike most Altman films, this one barely registers on anyone's radar. I had to trade a stolen kidney for the worn VHS copy that I own, and I've invested in thousands of dollars of technology, not to mention wasted tens of lives, trying to encode the film to DVD for a more permanent archive. I love this film. It is only barely like the monstrously wonderful short story upon which it is based. It does, though, has some really wonderful lines, and it is a complete self-indulgent hedonistic piece of nonsense. Dennis Hopper plays himself, and all the Altman regulars are playing themselves. There's even a cameo by Hal Philip Walker, a character from Altman's movie "Nashville." The obsession with Lobsters is remarkable. I'm not so sure the obsession with African music is, but it did lead me to a King Sunny Ade concert in Austin that will stand out as one of the best live shows I've ever seen. The Gila Monster is remarkable. The Schwab clan makes the movie. The whole thing...look, if you've ever lived anywhere in the southwest in the 80's, see this movie. Trade a kidney for it if necessary.

I really wanted to like this movie, mainly because I laughed my ass off reading the 36-page odessey of O.C. & Stiggs in National Lampoon. Naively, I thought that an otherwise great director like Robert Altman could show us the wickedly funny side of hard-core juvenile delinquency. Instead, he lets us down by stripping away almost all of the mean-spiritedness that made the story so hilarious. All that's left are some wishy-washy hijinks from a couple of kids trying to look cute. Perhaps Danny Boyle, the director of "Trainspotting", could have done more justice to the story. The movie is not entirely worthless, though. Occasional gems from the story survive in Altman's adaptation, and Altman's trademarked style is as evident as ever. Each scene is almost littered with celebrities, and there are plenty of layers of dialogue that no other contemporary director pulls off as well as Altman. Phoenicians can entertain themselves during lulls in the movie by spotting local landmarks. Overall, you could do worse on a dollar rental, but you really should read the story to appreciate the little bits that survived in the film.

i was listening to an overachieving radio show called Jake and Jackie one of their blow hards recommend that people go out and see this movie. let me just say it was god awful if anyone likes this film they clearly have the IQ of Paris Hilton on crystal method. Personally if i were you i would stay away from this movie. Robert Altman a really great director but he really s'd the bed on this one. Instead of seeing this everyone should go out and see broke back mountain gay cowboys are a much better watch. hope this helps and i hope this doesn't turn you off of altman's films. Jake and Jackie i hope you appreciate this

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