This Ron Underwood science fiction comedy film performed so poorly when it was released
on August 16, 2002, it failed to earn back even 8% of its $100 million dollar budget.
In fact, when adjusted for inflation, this PG-13 picture is ranked sixth from the bottom
for most losses suffered in a major box office debut.
Its abysmal financial reputation notwithstanding, the 95-minute story is decently entertaining,
and decidedly unique.
In the year 2080, on the surface of a colonized moon, Eddie Murphy leads an all-star cast
as a successful nightclub owner who battles the mafia to save his business.
The premise definitely has potential, as I could easily see an episodic TV show that
follows the misadventures and high-jinks a club owner would get into while living on
the moon.
There was a time when Murphy was a sharp, vulgar, and hilarious stand-up comedian, and
while those days are long behind him, his wide-grin and quick-witted charm is enough
to carry the often ridiculous, and fast-moving story.
In the hapless sidekick role is Rosario Dawson, who tags along for no discernable reason.
From a production standpoint, her inclusion is obviously due to her good looks, but from
a story perspective, her involvement makes absolutely no sense...
she's a struggling lounge singer who puts herself in constant danger for a guy she literally
just met.
It's yet another misstep in Dawson's enigmatically successful career, constantly plagued by poor
decisions and bad projects.
The massive supporting cast also includes Randy Quaid as a creepy looking and intellectually
limited android, Joe Pantoliano as a hitman for hire, Jay Mohr as a struggling nightclub
act, Luis Guzm�n as a loud-mouthed smuggler, James Rebhorn as, what else - a slimy corporate
type, Peter Boyle as a wise retired cop, Burt Young as a considerate bookie, John Cleese
as a robot inside a moon car, and Alec Baldwin rounds out the group with a quick cameo as
an asshole mob boss.
Despite their decades of collective experience this talented cast is unfortunately given
little opportunity to make a lasting impression, as few stick around for any significant amount
of time.
When one of them is unceremoniously whacked, the audience will likely feel nothing for
the underdeveloped character, especially since the protagonist barely seems to notice either.
Even though there's echoes of comic book flair, the plot is commendably, an original one,
penned by Neil Cuthbert over fifteen years prior, which mixes in great references to
"Microsoft Avenue", and Hillary Clinton's face on currency.
But despite all the robots, human cloning and ray guns... the plot is unfortunately
rather pedestrian, unraveling with a great deal of predictability, at least until a surprising
twist in the final minutes.
Underwood's slower and fluid direction incorporates some nifty movement-matching edits, and showcases
the colorful lunar society with beautiful wide shots.
The visuals meanwhile are also handled impressively well, from a thrilling hover-car chase through
the canyons of the moon, to a hectic shoot-out that sees our heroes bouncing around in the
low-gravity environment.
When Murphy annoyingly questions how his enemies found him, Cleese retorts, "Obviously, you
did something stupid."
Containing a certain swashbuckling sensibility to it, John Powell's score is an above-average
one, and suits the picture perfectly.
Thematically, the movie is about as strong as the moon's gravity, but remains reasonably
believable within the confines of its astronomical narrative.
Utilizing some cool locations, big-name talent, and capable special effects - this space adventure
is certainly better than its Razzie-nominated reputation.
But I can understand why people weren't flocking to see a character no one had ever heard of.
Overlooked, but still enjoyable, this sci-fi film is worth checking out at least once.
"The Adventures Of Pluto Nash" is an under-appreciated, if over-ambitious experience, but an ALRIGHT
film.