Two friends living in a small town during the 1960's run away to enjoy their freedom during the Vietnam War, thus disappointing the father of one of them. When they return to town, they realize how important family unity is.
Robert Downey Jr.,
Max Baron (James Spader) is a 27-year-old high-flying advertising executive still recovering from the death of his wife. One night he is in a bar when he meets Nora Baker (Susan Sarandon), ... See full summary »
Michael, a wimpy young executive, is about to get pulverized by a jealous boyfriend in a bar when a handsome, mysterious stranger steps in--and then disappears. Later that night, while ... See full summary »
Because he's the oldest, Jake has been the man of the house, since his parents divorce. When Mom starts seeing Sam, who always seems to be trying some new way to get rich quick, and ... See full summary »
It's recruiting time and despite being short and scrawny, Johnny Walker is America's hottest young football prospect. His dilemma: should he take one of the many offers from college talent ... See full summary »
Bud S. Smith
Anthony Michael Hall,
Robert Downey Jr.,
A bachelor afraid of marriage angers his long-time girlfriend by buying a splendid townhouse just for himself, only to find it haunted by the ghosts of a famous theatrical couple, who teach... See full summary »
At the start of his senior year in high school, Morgan's father has lost his company, so the family moves from Connecticut, where they've been in the yacht club, to an apartment in the San Fernando Valley. Morgan has grown up in the shadow of his high-achieving older brother, and he seems to have a knack for getting into trouble. He also has a stubborn streak, so when he finds himself attracted to Frankie, the girlfriend of the leader of a local gang of youthful thugs, he can't stop himself from pushing her for a relationship. The thug thinks of Frankie as his property and sees the cool, urbane Morgan as dead meat. Is this a struggle to the death? Written by
James Spader is merely lipsynching during the piano sing. See more »
In James Spader's first appearance in the film the patch on the back of his leather jacket is slashed with a car antenna. Although the patch is still slashed when he arrives at school the next day, it next appears fully intact later the same day at school while Spader is talking to Robert Downey, Jr. See more »
Your bike is in pieces and you tell me nothing happened? Did you at least find out if they have any insurance?
Insurance? This isn't Connecticut; no one has insurance around here!
See more »
During the end credits, we see Morgan, Frankie, Jimmy and Ronnie dancing and playing instruments with Jack Mack and the Heart Attack at Club 60's. See more »
Anyone with a music shout-out? 'Tuff Turf' is a uneven, but overly stylised and fashionable mixture ranging from a lesser take on 'Rebel without a Cause' with a constant spray of social and class references/forbidden romance in a L.A suburban backdrop and being backed-up by a pumping soundtrack led by Jim Carroll and Jack Mack and Heart Attacks. The music was non-stop and the story's tone and shape zips-around, as early on we seemed to move from one joint to another featuring blaring tunes and raving dance moves.
Morgan Miller and his family have just moved from Connecticut to Los Angeles, where he encounters and interferes with the local gang led by the psychotic Nick Hauser. To make matters worse, his fallen for Hauser's girlfriend Frankie and goes about trying to grab her attention, despite the warnings and beatings to stay away from her.
The young cast are quite good. James Spader genuinely fits blending a rebellious attitude with easy-going suaveness. The gorgeous Kim Richards is completely transfixing in who wholesome performance and punk appearance. Paul Mones nails down his role as the hot-headed thug and Robert Downey Jr. lends in with an agreeable performance. Also dependable character actor Matt Clark makes for solid support.
Director Fritz Kiersch truly gets the beat on with its breakneck pack (despite some editing in the story wouldn't have gone astray) and stylishly muscular verve. When it calls for it, Kiersch isn't afraid to pack a punch, as the jarring violence is sweaty and a bloody pulp. Jonathan Elias' booming, sullen synthesiser score helps cement the rough atmosphere and saucy energy. Some set-pieces seem to work better than others, but there's no question there are a couple of powerful, moving and harsh illustrations. The script isn't as foreseeable, but the humour at times seemed to get in the way or not entirely fit.
8 of 10 people found this review helpful.
Was this review helpful to you?