As Good as Dead

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Three rising stars of 1989 collectively hit career bottom in director Jonathan Mossek's unintentionally uproarious psychothriller, in which an NYC photojournalist (Elwes) is kidnapped by avenging white supremacists. There's some camp pleasure in watching Frank Whaley and Andie MacDowell---possibly the least threatening humanoids in the history of civilization---sport neck tattoos and menace a bloated Elwes with blades and bad dialogue.

Three rising stars of 1989 collectively hit career bottom in director Jonathan Mossek's unintentionally uproarious psychothriller, in which an NYC photojournalist (Elwes) is kidnapped by avenging white supremacists. There's some camp pleasure in watching Frank Whaley and Andie MacDowell---possibly the least threatening humanoids in the history of civilization---sport neck tattoos and menace a bloated Elwes with blades and bad dialogue. But it's hardly worth slogging through a full hour of unexplained bondage and a so-bombastic-it-seems-sarcastic score, only to be rewarded with a plea for tolerance that's both insincere and inept.

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By: Eric Hynes

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