Colpo di scena

Tonal shifts, murder by hammer (not shown), Judd Nelson's hair, and yes, even a vibrator.

What I've just described to you sounds like a misheard phone conversation. It's not. What it is, is a list of ingredients in this movie. From the Hip is a movie that has all those things and is still somehow watchable. Stranger too, it's entertaining.

From the Hip should never work. And it doesn't. Not for a second. But it's fun and it holds your attention until you forget just how preposterous and unrealistic it all is.

It's a legal dramedy. Yes, it really does combine three genres, and you know what? There's even a little thriller in there. The movie doesn't exactly merge genres, but rather, it switches from one to the other at certain times. It starts out as a screwball comedy, moves into a heavy legal drama, and by the third act, it enters gripping legal thriller territory. Yes, the tonal shifts are that jarring, but somehow give the movie charm. It's as if the screenwriter forgot the earlier parts while writing the later parts, and once he put it together, realized he had no time to make them fit better. But it is fun.

Judd Nelson and John Hurt are great in this movie, and Judd Nelson gives probably the most likable performance of his career. Unlike the tool he played in Breakfast Club (1985), you actually want to root for his character here.

While it's totally unbelievable and unrealistic, it's pretty fun and entertaining, and if you weren't super into the over-the-top comedy in the beginning, it gets better, so don't worry. It's like if Hudson Hawk - Il mago del furto (1991) became a completely serious movie halfway through. It even maintains the seriousness right up until the climax, which seems very derivative of many other legal thrillers until you realize that this movie preceded them all. Check it out. It's worth at least one watch, and it's just a nice movie to be able to say you saw.

Don't listen to the negative reviews or nay sayers. Decide for yourself the way we did. Judd Nelson is terrific in this entertaining movie. There should've have been a sequel but unfortunately just like many other terrific movies the studio didn't market this movie AT ALL. From opening to the end you're interested in the story and colorful well written characters. Trust me -- it's a truly entertaining movie in the tradition of all of the other brat pack movies. The script is clever and the pacing swift. The movie keeps you involved and the actors never miss a beat. Nelson and Perkins have chemistry and let's hope they do another movie some day.

Once again we are reminded of the waste of a fantastic actor, and question why it was that Judd Nelson faded so quickly into TV limbo-land. In 'From the Hip' he might as well be playing John Bender, 5 years on from his Saturday morning detention in 'The Breakfast Club'. All the Bender traits are there - the showcasing, the cunning, the witty comments, and the lovable rogue charm. An excellent supporting cast keep the pace going, with John Hurt turning in one of his finest performances. The only problem I had with this movie is that it doesn't know whether it wants to be a comedy or a grizzly murder mystery. Despite that, it is a shame that this is one of those movies that not a great deal of people even know exists. I do admit I'm a big Judd Nelson fan (only please don't ever mention 'Blindfold - Acts of Obsession'!) so maybe I'm biased regarding the quality of this film, although I think there is something here that will appeal to everybody, right down to an obligatory romance (though i found it strange that although Robin's girlfriend tells him she loves him on 4 separate occasions, never once does he utter the words back to her).Know what? I should really get out more! EXCELSIOR.

A funny, insightful script that is treated a bit too lightly by the principals. No one looks like they're taking the story seriously except John Hurt, whose performance towers above everyone else's (it's too bad he only occupies the screen for 20 or so minutes). There are the odd moments of idiocy, and the entire effect is like an above average episode of a television law drama.

My favorite scene is where Judd Nelson crouches behind a table full of classic literature, tossing out books at the judge. Sometimes, Nelson doesn't quite know what his character is doing, but he manages to entertain and keep the focus on him.

But the first half of the movie is farce and the second half (Hurt's story) is serious drama. At one point this is signaled by Dan Monahan, who says, "This isn't fun anymore." There are some good gags throughout and the drama could hold its own if the first part of the movie weren't so long. It could have been shortened considerably to make the John Hurt story longer and more effective. I enjoyed watching this movie and would recommend it to anyone who likes television law type shows.

Mmm, I liked it… quite a bit. Bob Clark writes/directs this comedy courtroom drama with many screwball antics but also well managed serious elements. Having it sit in both camps could've been disastrous, but while it isn't always 100% in convening them together. I found it hard not be gripped, and trying to wipe the grin of my face. However it's a glowingly clever little concept (falling in two parts), which is brought across by Judd Nelson's bouncy performance. He plays Robin Weathers a young, brash Boston lawyer that goes about things in a very unconventional manner, but these questionable methods gets the results. Embarrassment for his firm, but everyone else loves it. So after his first big win, he joins the firm's partnership and then finds himself dumped with a murder case which he has no hope of winning. This was purposely done, so his partners could get rid of him.

The smart-lipped script is very agreeable with the smooth flowing pace and playful score adding to the amusing diversions. The comical interplay is quite heavy with ballistic energy in the early stages as the courtroom is a show-stopping circus of noisy gags (which has great snappy performance from Ray Walston as the judge of the courtroom), but when it gets to the main case that's when those dramatic aspects mingle in (like its stinging if transparent climax), but never leaving the theatrically colorful zinger and humour behind. Clark makes it work, as it's never over-cooked and has a purpose to steering the action and situations. John Hurt is amazing as the intensely cocky defendant that Nelson's character must try to acquit. There's fine support from the likes of Darren McGavin, Dan Monahan, David Alan Grier, Nancy Marchand and undoubtedly lovable Elizabeth Perkins (whose beautiful smile simply lights up a room).

A novel crowd-pleaser that's always thinking on its feet.