Arnold Schwarzenegger being a good sport and making fun of himself. But as a manufacturer of fun the movie has the same limitations as, only on a larger scale than, the Schwarzenegger torso: too grotesquely pumped-up, bulging, strained, top-heavy to produce an effect of "lightness." And in making fun of himself, the actor risks making fun of his fans in the bargain: an absence of "lightness" becomes an insult. The mingling of fictional characters with "real" ones, effected in this instance by a Magic Ticket handed down from Harry Houdini, is a premise which, as Woody Allen showed in Purple Rose of Cairo or Buster Keaton showed in Sherlock Jr., can be both funny and profound. As shown here -- in the mess of grandiose stunts, indecipherable dialogue, celebrity cameos, private jokes that exclude no one -- it can also be neither. With Austin O'Brien, Charles Dance; directed by John McTiernan. (1993) — Duncan Shepherd
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