"I take orders from the Octoboss."

Showdown in Little Tokyo

“Y’know – this is a weird part of town.”

August 23, 1991

SHOWDOWN IN LITTLE TOKYO is a movie I have long enjoyed (here is a pretty dumb review of it I wrote 13 years ago). It’s a buddy cop movie starring Dolph Lundgren (between COVER UP and UNIVERSAL SOLDIER) and Brandon Lee (between LASER MISSION and RAPID FIRE), so any possible deficiencies are easily overcome by their great charisma and the unrepeatable novelty of their team-up. Watching it in the context of these other ’91 movies it does seem slightly primitive; it’s a Warner Bros. movie, but the budget was $8 million, which is less than DOUBLE IMPACT – or even non-action stuff like DEAD AGAIN, THE COMMITMENTS, BINGO, RETURN TO THE BLUE LAGOON and LIFE STINKS – let alone the new state-of-the-art represented by POINT BREAK and TERMINATOR 2. Fortunately it’s in the capable exploitation hands of director Mark L. Lester (STEEL ARENA, CLASS OF 1984, FIRESTARTER, COMMANDO, CLASS OF 1999), so it has heavy doses of The Good Shit. He always gives you something extra.

Just as MYSTERY DATE has its two leads getting into trouble with gangs in Chinatown, this is about two guys fighting a Yakuza drug ring in L.A.’s Japanese district. In this case that’s in their job description as members of the LAPD Asian Crime Taskforce. Dolph’s Sergeant Chris Kenner gets the kind of introduction all his characters deserve: he single-handedly raids an illegal fighting circuit by climbing through a skylight, swinging into the ring on a rope and saying, “Haven’t I told you this is illegal, and it pisses me off?” Then he’s announced as the new challenger and has to fight the guys in the ring.

That would be a heightened enough opening for most directors, but this is Mark L. Lester we’re talking about, so Kenner’s raid also coincidentally takes place like 30 seconds before rival Yakuzas storm in to machine gun the ones running the fights. Kenner takes those guys on too and chases them out to the street. They try to run over him in their vintage convertible and he just leaps over the car like Tony Jaa or Super Mario.

And yet this is still not enough craziness for the Lesterverse, so the next morning Kenner is having breakfast at a favorite Japanese cafe when the same guys in the same car come in to demand protection money from the owner. He casually fights them while still holding his tea in one hand.

This is when we meet Lee’s Detective Johnny Murata, who happens to be walking by as Kenner throws a guy through the window. They’ve never met so they fight for a while before flashing their badges at each other and realizing they’re each other’s new partners.

The gimmick of this buddy team is that white guy Kenner was raised in Japan, speaks Japanese, knows all about Yakuza tattoos and stuff, and is aghast that part-Japanese Johnny knows none of this stuff about “his culture,” because he was raised in the Valley and doesn’t give a shit about any of that (except karate, which he has practiced since he was 4). He wanted to be assigned to Malibu and seems to think that it was a little racist to give him this beat.

(Lee of course was not Japanese – he was of Chinese, Eurasian, Swedish, Irish and English descent – but they needed him to be part Japanese for this one, so he went with it.)

I feel like I’ve seen some movies where it’s painted as shameful for young Asian Americans not to know enough about their heritage, and whether or not you agree with that, it’s novel that this one is okay with him just being American. I think it’s also up to interpretation whether he really doesn’t like sushi or if he’s just saying things like that to get a rise out of Kenner, like when he calls him “you zen warrior fuckin samurai asshole.”

Their casual banter during and between fights is my favorite thing about the movie, and makes me think of it as very light-hearted, so Mrs. Vern was not happy that I called it “funny” and forgot to warn her about the lead villain’s extra-fucked-up Just How Evil Is He scene. Yoshida (Cary-Hiroyuki Tagawa, LICENCE TO KILL, L.A.TAKEDOWN, KICKBOXER 2) is the Iron Claw Yakuza boss trying to take over the territory (and coincidentally the guy who killed Kenner’s parents in front of him when he was little). He recently took over the Bonsai Club by smooshing the previous owner (Philip Tan, BATMAN, MARTIAL LAW) in a car compactor. His whole crew watched and then walked away with mild smiles on their faces like they just watched DOC HOLLYWOOD. Now he has a video tape of club employee Angel (Renee Griffin, HOLLYWOOD BOULEVARD II) talking about it, so he punishes her by forcing her to smoke enough “ice” to kill her, then coercing her into sex in front of his men, then while that’s happening he chops off her head with a sword. And he has the whole thing video taped and later shows it to other women as a threat. In my opinion the guy is a real jerk. Just my two cents.

This is also one of C-HT’s best roles because he gets to be more physical than in some of his other movies – shirtless, tattooed, wielding a sword, moving like some kind of reptile – in addition to his traditional talents at making evil speeches and giving you the coldest, cruelest looks capable from a human face. And his criminal enterprise is a fun one. The drug he’s selling “makes rock look like decaf, babe,” says the coroner (Vernee Watson, TRICK BABY, G.I. JOE THE MOVIE), and he hides it in beer bottles. There’s a scene where Yoshida makes a presentation to all the other gangs, so we see a caravan of Hell’s Angels, then a limo, then a lowrider going through the gates into the Red Dragon Brewery.

This is normal for Yakuza movies, but I appreciate the garish clothes in this – lots of loud shirts and ties worn under very ‘90s suits. Dolph does the tank top under pleated slacks thing – very dated, but of course he makes it look good. Brandon is more the everyman, but sometimes he gets flashy ties. Also there’s one Yakuza played by Reid Asato (later in ON DEADLY GROUND) who gets to wear a Hawaiian shirt. Seems fun! In his final fight (spoiler) somebody throws him a sword, and it made me wonder: if the shit ever went down, would someone throw me a sword? Who is the sword thrower in my life? Do I have one? What do I have to do to earn one? It’s worth contemplating, I think.

Minako (Tia Carrere, also in HARLEY DAVIDSON AND THE MARLBORO MAN, released the same day, so read that review for full Summer of ’91 context) plays a singer at the Bonsai Club who gets victimized by Yoshida and protected (and more) by Kenner. The character of Minako is unfortunately not in keeping with Sarah Connor Summer – she’s a straight up damsel in distress, spending most of her scenes getting manhandled, threatened, or tied up and gagged. But at least in the workplace she gets to be on stage singing “I Like a Man With a Slow Hand” while other ladies are topless sumo wrestling or having sushi eaten off of their naked bodies.

Speaking of naked bodies, Carrere’s nudity appears to be a body double, while Dolph shows his ass and I think a quick flash of wang. For whatever that’s worth in the ongoing fight for equality.

Lee will have a better showcase in his next movie, but I appreciate that there are tons of action scenes that are not just shootouts. The fights are always fun, especially when the two combine their forces, leaping off of each other and stuff. Kenner has Dominic Toretto style super-strength, so there’s a part where he just punches through a door, grabs the guy on the other side and yanks him out.

And there’s a great part where he jumps off the roof of a house onto a cool sports car, denting the roof. He then ducks next to the car, shooting through its side window, using it as cover. And then, almost like a callback to Lester’s COMMANDO, he lifts it up and rolls it over on its side, which causes it to explode. A very cool exit.

I also really appreciate that the action happens in a variety of locations that all fit nicely into the story. You get a pretty complex fight at a bathhouse where the yakuzas like to kick it. You get a battle at the previously established junkyard, with our boys crushed in a car and Johnny yelling, “Do some of that muscle man stuff, Kenner!” They escape that and get a practicing-and-putting-on-a-headband-in-front-of-a-shrine-to-his-parents-scored-by-electric-guitar montage (music by David Michael Frank, SUBURBAN COMMANDO, OUT FOR JUSTICE, HARD TO KILL, ABOVE THE LAW) and obviously there’s a battle at the brewery. Johnny kicks a guy off a catwalk into a giant vat, then he throws in a lighter saying “You have the right to be dead” and explodes the guy! Which number one is police brutality and number two prevents us from finding out if he would’ve turned into the Beer Joker.

I should mention that these cops do many things that cops absolutely should not do. Kenner just straight up snaps a guy’s neck to sneak into a place, for example. They’re kind of being vigilantes, and there are wisecracks made about it. At one point they have to flee a scene as the other cops arrive.

I should also mention that these Yakuzas are so intense that one of them snaps his own neck while being interrogated.

Gerald Okamura (around the same time as SAMURAI COP) shows up as a guy who tortures them with electrodes, and you’ll see alot of other familiar martial artist/stuntman faces including Roger Yuan (AMERICAN KICKBOXER 1), Simon Rhee (BEST OF THE BEST), Al Leong (I COME IN PEACE) and James Lew (ACTION JACKSON). And apparently Branscombe Richmond (CAGE) is in there too, but I missed him. The stunt coordinator/second unit director is Terry J. Leonard (COBRA, IRON EAGLE II, THE PACKAGE), with martial arts choreographer Clint Cadinha (a stunt double from 21 Jump Street) and fight coordinator Pat E. Johnson (THE KARATE KID, TEENAGE MUTANT NINJA TURTLES).

The titleistical Kenner vs. Yoshida showdown happens in the street with both sides talking about honor and putting down guns to fight with swords they take from some guys in a parade. Kenner runs Yoshida through with the sword, real gruesome, real cool death. The end.

Just kidding! Mark L. Lester would never let that be the end. No, after he impales him he throws him like a dart onto a giant pinwheel firework, which then starts spinning and spewing sparks and then blows up. Obviously that’s enough to make this a classic movie, but an extra cherry on top is that when he first throws him Johnny says “Yes!” excitedly, but after the firework starts going he frowns like maybe it’s too much.

The script is credited to Stephen Glantz & Caliope Brattlestreet, a husband and wife team who had been writers on ‘90s updates of Dragnet and Adam-12. I think “Chris Kenner” is a decent name for a hero, but isn’t it kind of bland coming from a writer named Caliope Brattlestreet? Maybe when that’s your name you have more appreciation for something plain like Chris Kenner.

According to Wikipedia there was an earlier, more serious draft by Steve Sharon (THE DEAD POOL). I don’t think we need a more serious version, but it also says there was an unfilmed chase scene that ended with a fight in a shopping mall. That I could get behind.

Wikipedia also says that Michael Eliot (OUT FOR JUSTICE) and Stuart Baird (LETHAL WEAPON) were brought in to re-edit the movie after Warner Brothers thought it was too slow. I would love to see the full 90 minute cut and I’m open to the possibility of it being better, but I also like that this is a lean 79 minutes.

Because WB didn’t like it apparently they gave it a limited release, so it opened at #16 on 140 screens. CITY SLICKERS was in its 12th week and still playing on 1,060 screens, to give you an idea of how small that was. So congratulations if any of you managed to see it before video.

* * *

In honor of enjoying this classic again I decided to try to re-create the Red Dragon Draft Beer logo. There are some variations seen on the packaging and the front gate of the brewery, but I was mainly looking at blurry DVD screen caps of the version painted on the back of the delivery truck Dolph and Brandon climb onto and hijack. Now available on t-shirts, beer steins or whatever you want at Zazzle.


Rookie martial arts choreographer Clint Cadinha stuck with Dolph for UNIVERSAL SOLDIER and Lee for RAPID FIRE and THE CROW. He also did choreography for DEMOLITION MAN, UNDER SIEGE 2, THE MATRIX, SPIDER-MAN, xXx, THE RUNDOWN and BLADE: TRINITY.

Second unit director/stunt coordinator Terry J. Leonard later did the same for DIE HARD WITH A VENGEANCE, 2 FAST 2 FURIOUS, TOKYO DRIFT and FAST & FURIOUS, among others.

Director Mark L. Lester followed this with the pretty good cops-are-corrupt movie EXTREME JUSTICE in 1993. He continued directing through the mid-teens when he did POSEIDON REX and DRAGONS OF CAMELOT.

Renee Griffin (Angel) was later in ENCINO MAN, CYBORG 2 and THE STONED AGE, and played another character named Angel in THE GREAT WHITE HYPE.

Tia Carrere (Minako) had maybe her best known role as Cassandra in WAYNE’S WORLD the following year. Some of her other action credits include RISING SUN, TRUE LIES, KULL THE CONQUERER and SHOWDOWN IN MANILA. She has been in several movies in recent years, and a voice role in LILO & STITCH and its three DTV sequels has led to her doing a bunch of voice work as well.

Cary-Hiroyuki Tagawa (Yoshida) reached iconic villain status when he played Shang Tsung in MORTAL KOMBAT, and of course I also enjoy him in THE PHANTOM and as a non-villain in VAMPIRES. In 1999 he faced off with Dolph again in Isaac Florentine’s BRIDGE OF DRAGONS.

Dolph Lundgren (Kenner) later appeared in the Coen Brothers’ HAIL, CAESAR!

Brandon Lee (Johnny) still had RAPID FIRE in his future before his tragic death filming THE CROW. It will always hurt that he didn’t get to do more, but with his short filmography he made more of an impact than most.



This entry was posted on Wednesday, August 25th, 2021 at 12:05 pm and is filed under Reviews, Action. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.

36 Responses to “Showdown in Little Tokyo”

  1. Yes! My legit favorite film of all 1991! (It opened in late September by me, but i saw it. Same weekend as Barton Fink!)

    I watched this last year with my friend and i love it so much. I love the crazy editing job that has the guy who kills himself in police custody later alive and well!

    I wish Lee did more downright comedic stuff. He is so charming in this, more so than either Rapid Fire or The Crow (controversial statement for sure, but this will always be my favorite role of his).

    One thing I gotta be a stickler on, Vern… The line is “You have the right to BE dead ” and I wore out the vhs in that spot because my friend and i thought that was the coolest line ever. (Also wore out the Tia Carrare body double spot because teendom)

    Thank you for so many words devoted to this flick! Im gonna put the soundtrack on and have a kung fu montage.

  2. And you damn skippy I’m getting one of those shirts for me, and for my aforementioned friend who watched this with me continuously!

    Thank you for making this Vern!

  3. According to IMDB trivia, Michael Elliot also did the same job on Out for Justice. I never thought about looking up films on Wikipedia instead of IMDB. So used to use IMDB. I guess it makes sense if you want to look up the references, as IMDB trivia don’t have a source requirement for their trivia.

  4. Thanks Winchester, I have corrected the line so as not to be spreading disinformation.

  5. When SHOWDOWN came out, with a running time of only 79 minutes, I was convinced a lot of cool stuff was cut out. Be I’ve never seen anything other than the butterfly knife scene missing in some versions.

  6. Jesus, is summer over already? I’m more bummed about the last 1991 movie than facing Fall 2021 but that’s because we’re still not really having a normal movie summer.

    Anyway, release the Lester cut!

  7. It’s weird, even though I’ve been doing this series for what feels like forever the lack of a normal summer movie season for 2021 honestly disoriented me enough I only realized the other day that oh shit, September is about to start, this is my last batch of ’91 movies.

  8. 1) I’ve been using this series to track the summer weeks like i normally would the regular release calander. Its weird, but thats how my mind works.

    2) My friend worked for the original editor and asked him about it. He said the studio thought there was too much decapitation and fired Lester. He didn’t say if another cut existed, but that reasoning makes me happy.

    3) I’m amazed by the amount of movies that came out in the last weeks of August. The ones you mentioned and weird stuff too. (Was really hoping for a True Identity review, mostly because I need others to confirm that its a real movie and I actually saw it. Like a dumber and less poignant version of the guy in Summer of Soul! Which you need to see if you haven’t yet)

  9. I didn’t see this right when it came out. I went on a Dolph kick after UNIVERSAL SOLDIER and rented everything I could find with him, so it wasn’t too long after it came out that I saw it. I liked it a lot, but I haven’t seen it in many years and I’m wondering if I re-watched it now if I’d be a uncomfortable about its portrayal of women. Sigh. It’s a hazard of being a woman who loves action movies. Other than being surprised at that scene, was Mrs. Vern put off by the treatment of women in this one, Vern? Not to put you, or her, on the spot. I know you try to keep her out of the discussion for the most part, so feel free to ignore my question.

  10. Winchester – I’m sorry, I missed that one. I remember that I saw that in a theater and not really anything else about it. Damn, I wonder if I should extend the series into next week? I thought I had a good ending here but that seems like a mistake to have skipped.

  11. Maggie – Well, she wasn’t fully paying attention to the movie, but she was in the room and I told her it would be a funny movie but then there was that fucked up scene I described. There’s another scene implying a sexual assault happens, and otherwise women are mostly seen half naked dancing or with sushi on them. So there’s really no positive depiction of a woman anywhere in the movie. But they are mostly just in the background as the movie focuses on Dolph and Brandon.

    Oh wait – the coroner seems cool, she’s in it for one scene. That’s about it!

  12. I am perfectly okay with a movie having an absence of women (like my best friend couldn’t get into HUNT FOR THE RED OCTOBER because of this but I didn’t really even notice). I mean, I’d like some positive women portrayals, but I’d rather it have a void of women than terrible portrayals. I don’t love when it’s only naked women or brutalized women, but I’ve learned to overlook a lot. Which probably isn’t a good thing, but there you go. On a similar note, I really loved how in THE SUICIDE SQUAD there were so many women in those random background roles, like security guard, guerilla fighter, squad leader of bad guy army, etc.

  13. True Identity does indeed exist. All I remember is the plane crash scene where he tries to walk to the cockpit, and when he takes his death by decapitation and dismemberment using movie FX.

    Maggie, I’ve been reconciling this the last few years. Like I grew up in the Sarah Connor/Thelma & Louise era when women were just finally getting a seat at the action table, and even then it was rare.

    Now I think wow, how many years did women wait for even that? That sat patiently and graciously through all the male dominated action movies I loved and even with Kill Bill, Alias and Hunger Games they’re still mostly waiting patiently. And that’s not even delving into the misogyny present in many of them.

  14. I have decided to push back the finale to next week so I can squeeze in TRUE IDENTITY. Thanks for reminding me!

  15. Maggie: As a man who spends a good chunk of every single day of his life writing action/thriller/crime stuff with a male narrator, it can be a real problem to have a female presence in that kind of story without falling into cliches. I have come to hate tacked-on love interests (the part where Reacher inevitably succumbs to the attentions of the gorgeous local lady DA or whatever is always my least favorite part of those books) so I stay away from those. If there’s gonna be romance in there at all, it had better be the focus of the story, not just a blatant sop to some alleged female demographic who can’t relate to action unless there’s kissing involved. I just wrote a whorehouse scene where all the hookers had already gone home for the night so I wouldn’t be tempted to use scantily clad women as set dressing. I’ve used damsels in distress before but I’ve also attempted to interrogate that trope whenever possible and put a twist on it. (For example, my most recent completed novel was about a quest to pay for a little sister’s braces, only for SPOILER the little sister to reveal at the end that she’s already paid for them herself.) I’ve placed women in the role of confidant, mentor, muscle, sparring partner, savior, annoyance, turncoat, villain, comic relief, henchman, etc. Which is all well and good, but a lot of my stories heavily feature what I hope is cathartic violence against assholes, and the impact of that is much lessened (in my opinion) if my male hero is deploying it against women, even if those women are villains. I try to tell myself that I don’t fill a lot of those asshole roles with women because I think too highly of women to think they’d be the kind of knuckleheads that end up as bad guys in my stories. A lot of my goons are both vicious and stupid in that Elmore Leonard way. I tend to think of the real nemesis in all my stories is toxic masculinity, but that could just be cowardice on my part, so I am currently ramping up to a huge RAID-style brawl in an abandoned mall (a mall brawl, if you will) in which the mob of enemy combatants will be unisex, just to see if I’m up for the challenge of making that palatable (or at least non-misogynistic).

    Anyway, I love the action genre with all my heart and also recognize that it needs to do better. I’m trying to do my little part to give women a wider range of roles within the genre, and I hope other writers are doing the same.

  16. Serious sorry-if-I-sound-like-an-asshole question: Doesn’t it suck for women to constantly have to consume popculture under a microscope? It seems to me like women are these days unable to enjoy movies, comics, TV shows, video games, whatever, without having to count every female character in it, how many lines of dialogue they have, if they are portrayed in a positive light, if they wear high heels while running from dinosaurs, etc.

    I know that times are a-changing and I’m all for that change, but I would honestly start to reduce my media consume to kitten videos if I would have to apply twenty variations of the Bechdel test to everything I watch.

  17. Aw Man, if i realized Showdown was the grand finale, I woulda kept my mouth shut. My bad everyone.

  18. I don’t personally examine movies like that. It’s just that sometimes something stands out, good or bad, that will capture my attention. Most of the time I don’t go any deeper with movies than I liked it or I didn’t like it. That’s part of why I like coming here – reading Vern’s review or the comments will help me flesh out why something worked for me or didn’t.

  19. CJ I get what you mean. Like they can’t just make Wonder Woman, Captain Marvel and Black Widow because they’re awesome. I think I felt that when I was aware of the Thelma and Louise discourse, but of course it’s way more amplified than a few magazine articles now.

    Unfortunately the conventional Hollywood wisdom has been “female led action movies don’t sell” for so long. It still feels like every time there’s a Hunger Games or superhero we still have to point out “SEE!” And god help us if a Tomb Raider underperforms.

  20. Hey, Vern, I remember this movie came out in the summer after I graduated from high school, and because I didn’t have anything else to do, and I worked at the movie theater so it was free anyway, I saw this one two days in a row. Anyway, it was enjoyable, so thanks for bringing back the memories. Incidentally, I remember HARLEY DAVIDSON AND THE MARLBORO MAN played on our biggest screen while this one played on one of our smaller ones.

  21. Yes! Hold onto the summer! One more movie! One more movie!

  22. Oh, Winchester, no, I have one more written that was gonna be the finale (and then a wrap-up I’m working on), but I decided I can’t skip a breakthrough Black director in the summer of BOYZ N THE HOOD, A RAGE IN HARLEM, JUNGLE FEVER and STRAIGHT OUT OF BROOKLYN. So I’m going to try to watch it and write it up real quick as the new penultimate review.

  23. I can only speak for myself and my far better half, but if it’s something that stands out in a negative way we usually both react to it. It’s not like we dissect everything under a microscope, but we’ve been together for so long that we more or less can tell by the title, cast and director if it’s something we can watch together or if I will have to see it by myself. A female lead or director usually helps. But this relates back to the discussion we had about “uneducated” movie goers who can’t tell the difference between what some scumbag in the story says and what the meaning of the film is.

  24. Yeah, it’s pretty normal to react to things that stand out negatively. Believe it or not, men do that too! My mother and sister don’t seem to give a shit though. Although my sis really loved that one of the villains in HOME ALONE 3 was a woman who gets as comically brutalized as her male counterparts.

  25. Ok, thats good.

    I have a feeling what the finale could be, but I’m hoping its something else…

  26. CJ, my wife’s like that too. She doesn’t get more upset or angry than I do. And I don’t think most (grown up) women do.

  27. I think it’s Tinto Brass’ PAPRIKA!

  28. It’s not CHILD’S PLAY 3.

  29. Absolutely love this movie. 1991 was the first year where I saw a movie more than once in the same night at the theater and this was the one. Still the peak of Dolph’s flirtation with big screen leadingmanness. This is when CH-T was really coming into his own in villain roles and Tia Carrere was pretty much the hottest chick in movies.

    I remember my cousin who I saw it with kept telling me Brandon was Bruce’s kid. I was a very ignorant 8 yr old Dominican kid. You didn’t really see mixed kids in my neighborhood like that. So I was like “no way, he’s a white guy” then I read a newspaper article on him around the time RAPID FIRE was shooting and it stated that not only was he Bruce’s kid but that Bruce himself was also part white.

    I was blown away. The innocence of that era cause now a days that would be one of the only things people would actually talk about whether it’s a relevant point or not. I haven’t seen this one in about 20 yrs. I think I need to rectify that and find where to stream it ASAP.

  30. Wow Broddie, even I’ve never seen a movie twice in the same day in theaters. I could’ve easily when I worked at one. The 79 minute runtime does help make it feasible.

  31. I actually recall 2 other occasions besides this one Fred. JUICE and WHITE MEN CAN’T JUMP. My cousin and I just stayed while they cleaned and told the ushers we had just walked in. Man when I think about it the early 90’s really cemented my love for movies. Lots of gems during that early period when I think back at it. Which is what has made this retrospective review series so damn special.

  32. I saw Eyes Wide Shut two times on the first day, and then once again on Sunday. I remember seeing Femme Fatale twice on the first day. Other than those, it’s been a long time. A long, long time.

  33. Well played, Broddie. And me too reminiscing about the movies that made me love movies. I can’t imagine kids getting that way over Harry Potter or Marvel but I guess they do.

    I mean, discovering Pulp Fiction, then learning of the existence of Jackie Chan. John Woo doing Face/Off and those are just the biggies. My Cousin Vinny may have been the most I laughed outside a Zucker movie, Sam RAIMI movies? Wayne’s World and the SNL movies that followed, frankly all the tv remakes but especially The Brady Bunch… and the entirety of 1994 pretty much.

  34. Sorry to be off-topic but can’t pass up the chance to join in on what seems to be a rare phenomenon: seeing the same movie twice the same day in a theater. I did it a few times, but it was actually difficult as I generally saw big hits on opening Friday nights.

    But I remember quite clearly one I certainly didn’t expect to rush right back in for: Home Alone. Yes, I am easily amused by slapstick, but I was a little drunk, hit the vodka bottle stashed in the trunk between shows, and laughed like a hyena both times.

    The one I really wanted to get in to see again but it sold out while I was waiting in line was Lethal Weapon 2. Can’t remember what I ended up seeing as I was committed to seeing something at that point, but it sucked to miss out on Mel & Danny double dose.

  35. I’m probably one of two people on the planet who saw the Tom Cruise MUMMY twice in the same day but not because I loved it (although I did quite like it, about a 6.5/10 for me), we saw it on our way to see Guns n Roses at Queen Elizabeth Olympic Park in Stratford, and on the way back it seemed like the best way of killing time while the crowd for the Underground calmed down. First time I saw it was n 2d, the second post-converted 3d.

  36. Re: seeing the same movie twice in the same day, ive done it thrice.

    First was Natural Born Killers. Already saw it opening night with some friends, but my dad (having been recently turned on to Tarantino) wanted to go so we checked it out, I come home and my friend was forcing me to go again because he didnt want to be alone with the group. Being edgy, 16, and recently dumped, figured why not! (I have mixed feelings of the film that change every time I watch it).

    The other 2 were movie theater print checks. I was a projectionist, I had to check the prints the night before they showed, so Spiderman and X2 were the ones that I caught one after another. Loved them both so had no problem with it.

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