It is obvious from the music video included prior to the movie on the VHS version, that Slam Dance's strengths is in its visual elements, and as such, it is very simply and 80s movie in almost every visual respect. Unfortunately, what at least looked interesting, and was well-paced, was also a jumbled narrative which tends to deliver too much for its viewers to digest at one time with incoherent explanation. And while the movie's appearance may have been constructed with care, the fact that it's plot is delivered too hastily, may in the end turn the viewer off or at least, leave them confused by its finale. The story involves a freelance cartoon artist (Tom Hulce) who appears to have little going for him. He is separated from his wife (Mary Elizabeth Mastrantonio) with whom he has a daughter. He lives in a shoddy apartment (which looks more like an emptied indoor swimming pool) and in general, he is nothing remarkable. When his apartment is broken into one evening, and two men hold him hostage, his life is abruptly turned upside down. The men, and soon two police detectives, are investigating the whereabouts of his old (mysterious) flame (Virginia Madsen). What first seems like a case of mistaken identity turns into a complex mystery where everyone is a suspect with Hulce at its center trying to prove his innocence. But, what is revealed by its finale is a confusing and only partially explained story of high-end corruption, prostitution, and murder. (I would agree with the viewer who wrote that it's pool of potential talent such as director Wang and lead actor Hulce are squashed by Don Opper, characteristic ability to turn a script into a mess... I would point to 'City Limits' as an egregious example). And for this, even such care with the art direction cannot compensate.

I caught this movie on cable late one night and was pleasantly surprised. I found it to be entertaining and even a bit suspenseful in a 'Memento' sort of way. Adam Ant has some good comic relief and Tom Hulce is very satisfactory in the lead role. If you are looking for a sleeper at the local video store, check this one out. It appears at times to be a low-budget, late 80's type of film, but sometimes that is not a bad thing at all. I gave/give this film a solid 7 out of 10, and I recommend it for viewing. Two or three cocktails is a nice beginning to this steady film. The only real drawback is the heavy, who comes off as so wimpy that Virginia Madsen could take him out, but hey, that is just my opinion.

I may be a one-person cult for this picture. I have had a soft spot for it ever since I saw the movie on the late show in 1989. Some of the other reviewers for this title have made a reasonable assertion as to why they don't like SLAMDANCE, and interestingly enough, I understand and agree with their decisions. Yes, this movie is a disjointed mess, but it has a strange beauty on a visceral and emotional level; this sets it apart from way too many films made in the decade which threw everything together in order to seem different, regardless of whether everything gelled. For instance, this film veers uncomfortably from goofy comedy to more sordid material. However, that makes sense as the central character is a cartoonist- a man-child who teeters between the comic book sensibilities of his work, and the demands of the very adult real world (he seldom lives up to his responsibilities). Mr. Drood is a perpetual screw-up; he was barely supportive of his wife and child, and now must deal with unfathomable emotions since he is now implicated in the murder of a fleeting flame.I've never been much of a fan of Virginia Madsen, particularly because this classy, slightly mysterious blonde has never been given good material... at least until recently. But Wayne Wang understands her screen presence perfectly. The highlight of the film is Tom Hulce's scenes with her (set in the movie's past). These moments with the femme fatale are beautiful evocations of allure, desire and implicit danger underneath the colourful settings- classic traditions of film noir. With their saturated hues and sexy jazz soundtrack, these moments work on an almost dreamlike approach.Even though SLAM DANCE is a dog's breakfast of styles and tones, this segment is nonetheless indicative of the film's success on a completely non-literal level. Yes this is another 1980's quirky film which has the obligatory cameo by a punk musician... and the "hip" quotient also given by a Harry Dean Stanton role, but there's just something more about it that makes not just another curiosity piece. The first time I saw it in 1989, I was with two others who didn't like the movie at all. As much as I could understand their reasons why, I still feel that this odd duck of a movie has that special "something"... and I have still felt that after repeated viewings. It either works for you, or it doesn't. It just depends on whether the film hits you on the right emotional level. If you looked up this title because you have a strange attraction to this picture, you're not alone.

'Slamdance' is a frustrating exercise! A good director (Wayne Wang - 'Smoke') and an interesting cast, led by Tom Hulce ('Amadeus'), are dragged down by a rambling and dull script from actor/writer Don Opper (previously responsible for the inexplicable cult movie 'Android'). All your standard noir elements are here - a sexy blonde with a double life, a hero in way over his head, a murder frame, corruption in the police force and even higher, but Opper manages to make it all so boring you can't wait for it to end! I mentioned the interesting cast, and that is the only reason for sitting through this. It includes legendary character actor Harry Dean Stanton ('Repo Man'), punk rockers turned actors Adam Ant and John Doe ('Boogie Nights'), Robert Beltran ('Eating Raoul') and the too little seen Millie Perkins ('The Shooting'). Virginia Madsen ('The Hot Spot') also appears in flash back only.'Slamdance'? I'll sit this one out, thank you.