Mister Destiny

The film tells a story about marginal people--people living in the interstices and on the edges of our system. Stories of this type allow writers and directors to concentrate on interactions among a fairly small group, and (usually) they create interesting, likable people for us. This film, with its bow to magic realism, is both amusing and surprising. Tarantino is not effective as an actor, I feel. Apparently he is too self-conscious or, perhaps, does not rehearse. Aside from his performance (and it is not actually bad), the performances are fine. Just about every actor in the film does a good job.

This film brings to mind "Liquid Sky" and "Repo Man" (it features Tracey Walter, who played oddballs in both). It has a plot based on fantastic elements, yet is grounded in ordinary events (the usual romantic involvements and lifestyles of the criminal mind). It does feature great music and good performances, even if the plot is a little stupid or slapstick at times. Dylan McDermott and James Le Gros are both great. I feel that Nancy Travis is a bit overmatched in her role (Sarah Trigger would have been better), and I don't get Quentin Tarantino, so he could have been replaced by anyone else in this picture. The over-the-top ending, which leaps into the ridiculous zone, drops the rating to a "6", but this is pleasant, diverting entertainment with nice-looking actors, if nothing else.

It is said:

Uttamo brahinasadbha'Va madhyania' Khayyam ha'Ravi'a' Japastutih sya'dad-ha a' murtipu'ja Dhaka'Dhaka'

Society at large has lived in relative indifference of the cohesive power of Dylan McDermott (Wonderland, TV's The Practice, Cowboy Way) culture. The spiritual values of Dylan McDermott culture are integrative, relational and adaptive. McDermott and McDermott's father Pappy, played by Tracey Walter (Tv's Nash Bridges), seem quite startled to notice a man who appeared from their hot-tub and that man is Destiny, as played by the Q-man (Tarantino). Ideation on James Belushi (Tv's According To Jim, Daddy's Boy, Animal House, Mulholland Falls) is, in this movie, anyway, the best process of intuitional practice. The second best is Dhaka'Na (meditation) and dharana (concentration). LeGros and Travis are inferior and idol worship (Tarantino) is the least favorable.

This is what is called in Western philosophy a fallacy of a 'straw man argument'. that is, you present the notion of people worshiping Hollywood pretty-boys which they presume will enable them to achieve some sort of cosmic liberation. McDermott flounders and can barely do anything. LeGros and Travis are wasted and Travis didn't sing those songs, you know. Tarantino gives this movie it's surviving 9.1/2 star ruling. Furthermore, it survives being a Bomb with the assistance of David Cross (Men In Black 1 and 2, Showboat) and Bobcat Goldthwait (Blow, Indepenence Day) but even their parts are also a kind of sadhana. Also starring Sara Trees (Legend of Curly's Gold Strike) as Lucille's friend.

The tantric paths are the vehicle, as it were, and realizations are stations along the way....

I guess I must be a bit odd, but this movie represented so many important things to me - Destiny (soul mates), Las Vegas (I was drawn to this city and love it here), mysticism/magic (the gold pool, the coyote, the Marilyn Monroe Motel (like the 'Blue Angel' here in Vegas), and the music - Just My Imagination, always a favorite by the Temptations, and here played by Booker T and the MGs, added just the perfect touch for the two main characters' love scenes. (Plus Louis Prima's Old Black Magic at the end, was perfect for many reasons.) Also, the quirky humor was great - Pappy's sincere discussion with his son about the 'peneal gene', and how 'prisons make him nervous', and his greeting to his new daughter in law. Loved Thoreau's scenes too. I agreed, Quentin Tarantino's role in it was enigmatic, but not 'quite right'. I had the feeling he would have rather played Julian's role. Question: how can I contact the writer and learn how he came up with the plot concept and the choice of music?

There are only certain movies that can overcome their technical failures. Movies like "Destiny Turns on the Radio" have an authentically magical spark that draws you in despite some bad production values. What's more, its whimsical but truly bizarre story never alienates its audience. It is solidly entertaining and memorable throughout. Featuring some dazzling performances (minus Quentin Tarantino's lackluster turn as the suave Johnny Destiny) and a truly unique story, "Destiny" is a low-key gem.

Dylan McDermott is downright charismatic as Julian Goddard-a fugitive who was able to escape a Nevada penitentiary through a once in a lifetime brush with luck and fate. He is rescued by Destiny and delivered back to his old life of crime after 3 years. He hooks up with hotel manager Thoreau, his longtime partner and friend-played by James LeGros who is one of the film's most shining assests. With a fresh new hand at life, he sets out to get back with his ex Lucille, who is looking for her big break as a singer (by any means necessary). She is now with a piggish casino owner played by a surprisingly funny James Belushi. Of course, Goddard needs to thwart him, his goons, not to mention a handful of cops on his tail in order to get to his long lost love. All the while, Johnny Destiny is planning his return to his netherworldly realm through means of a hotel pool portal (don't ask- watch the movie).

There are a lot of things that just don't work in this movie. Fortunately they are not hard to look past. These include the terrible sound, which require some leniency from the viewer. They also include some jokes that go flat-notably a completely needless subplot starring none other that Bobcat Goldthwait. As you know, Quentin doesn't do much for his great role and to top it all off, there are some things that don't make a whole lot of sense in the script.

The beautiful thing about this movie is that it doesn't stop being so effortlessly likable. It gets very far fetched, but it never turned me off the whole time. In fact, it only proceeded to draw me in and captivate my imagination. Not to mention it's sprinkled with great bit parts like Tracey Walter as Goddard's desert-rat father, a hilarious David Cross as Lucille's sleazy agent and Allen Garfield as Vinny Vedivici, the slob producer who can make her dreams come true.

It may not hit all its marks, but "Destiny Turns on the Radio" convinces you it doesn't have to. It is one of those irresistible movies that you don't know why you enjoy it, but can't help doing so nonetheless. Don't be shy, accept "Destiny".