Dangerous Curves
Dangerous Curves
PG | 23 September 1988 (USA)
Dangerous Curves Trailers

A college graduate is offered a deal of a lifetime - deliver a Porsche for a client and join the company of your dreams in return. When the car gets stolen, he and his friend must go to a beauty pageant run by the thief to get it back.

Reviews
Lovesusti The Worst Film Ever
Plustown A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.
Mabel Munoz Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?
Taha Avalos The best films of this genre always show a path and provide a takeaway for being a better person.
rsoonsa In a film seemingly not supervised by a director, two California college roommates, Chuck (Tate Donovan) and Wally (Grant Heslov) take part in a vapid adventure obviously targeted at a barely pubescent audience. Chuck has an opportunity of which he has dreamed, to work for a large corporation where he will begin at $60000 per year, if he will complete a pre-employment assignment for the CEO (Robert Stack), a friend of Chuck's father. His duty is to deliver an expensive new Porsche, a birthday gift to the CEO's daughter in Lake Tahoe, but naturally complications occur due to Wally, the irresponsible friend of Chuck. Wally convinces Chuck to first utilize the Porsche as "bikini bait" in San Diego, where there is coincidentally a scheduled beauty pageant, and where the car is stolen. The manipulation of Chuck by Wally makes little sense throughout this affair, but sensible behaviour is not readily found within the script, as it would only interfere with pratfalls and bathing suit competitions. It is enough to mention, as ever with this type of film, a providential solution is found for personal relationship problems and that no one seems to mind if logic vanishes along the way. A payday is given to veterans Stack, Leslie Nielsen and Elizabeth Ashley, all of whom essentially create their roles, and a bright spot is a performance by funnyman Robert Klein, with his usual off-kilter derelict, in this instance an aging surfer. Poorly written and edited, this picture can yet claim freedom from any mean-spirited component, its most offensive facet being that the viewing of it is fundamentally a waste of time.