Johnny Destino

I don't know what convinced Quentin Tarantino to take a role in 'Destiny Turns on the Radio,' nor do I really want to. Essentially it is a rip-off of his ultra-popular "Pulp Fiction," released in 1994, only that movie had a point and this one does not. Dylan McDermott heads an all-star cast as a crook that is let out of jail, only to find his old pal (James LeGros) has lost their cash to a mysterious wanderer named Johnny Destiny (Quentin Tarantino), hence the title.

However, things aren't as clear as they seem to be. Sure, the movie's title is easily explanatory – but what on earth Johnny Destiny stands for (other than, of course, destiny), why he's there, who he really is, what he's doing, why he wants to do what he's doing – none of it is explained.

Furthermore none of it is ambiguous like 'Donnie Darko,' where we enjoy guessing and forming our own conclusions. Nope, it's just stupid and guessing what any of it means wastes too many precious brain cells that doesn't deserve to be burnt on such lousy, paper-thin material.

It's like someone, somewhere, said, 'Let's make a movie with Quentin Tarantino. It'll have no plot, we'll just have some weird characters interact and tell jokes and entertain the audience.' Entertaining, perhaps, but not in a good way.

The ending stinks of studio interference and more often than not the movie is just downright confusing. It could very easily be one of the worst films of all time, if not for the fact that it is rather sporadically amusing at times (its strongest traits of very little) and there are some OK performances from James Belushi and LeGros. The rest of the cast is a dud -- Tarantino tries, but fails, in a cameo-sized role. He's flamboyant and obviously savoring the opportunity to pay homage to all the cool-cat characters of classic cinema, but it's soon revealed that his character, Johnny, is just plain strange and unlikable. I expected to feel something – anything – when he appeared on-screen, but I didn't. Co-star McDermott in particular is just plain awful, lacking the charisma required for the role. Often appearing in made-for-television movies, McDermott once again establishes the fact that he's not the sort of actor you'd wan

Dialogue is stiff (stuff like "kiss me, baby" manages to sneak in). Overall it's just a goofy movie that thinks it's a lot cleverer than it is -- not awful because it doesn't take itself too seriously and is fun sometimes, but overall just a big mess of various ideas that clash together. A pure marketing scheme, cashing in on Tarantino's image no less.

I did enjoy one performance, in particular -- James LeGros ("Phantasm II"), who reminded me of Barney from "The Flintstones." A likable actor playing a likable character with depth -- too bad he had to waste his talent on a movie that is otherwise so very thin.

Aside from an earlier comment written about this movie, I happen to believe that DESTINY TURNS ON THE RADIO is a fine indie film. The dialogue is actually quite pungent with one-liners and gritty 'over-the-top' tough-guy-ness which makes it rather enjoyable. The story takes place in Las Vegas where an animistic spirit in the form of a man, Johnny Destiny (played by Tarantino), brings luck and good fortune to whoever he comes into contact with. The cast is idealistic and sparked with character, especially in the cases of wacky Thoreau and angry Julian (played respectively by James Le Gros and Dylan McDermott), and in a surprise casting move with comic veteran James Belushi as Tuerto, casino manager of The Stardust and new lover of the befallen Lucille (Nancy Travis of 'SO I MARRIED AN AXE MURDERER'). Johnny Destiny is the somewhat loose glue binding all of these characters together, which is a far stretch I'll admit, but the fun is in how it plays out, the excessive Las Vegasy overacting (which shouldn't be mistaken for real acting) and the quips of the dialogue. The only problem with this film, however, is that Tarantino's acting is horrid and somehow his association with this movie lumped it into a generic Tarantino-esque category, making its viewers somewhat upset due to the overwhelming lack of F-words, point-blank gunpoint stand-offs, and bloody faces. What DESTINY TURNS ON THE RADIO does offer, however, is a magical, mystical feel in a city where lady luck is prayed upon every second, and characters who obviously take themselves too seriously only to learn that success and fortune can fade in the flash of a lightning bolt. Other interesting and great casting mentions go to Bobcat Goldthwait and David Cross.

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.

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 was talking with a friend who doesn't get QT movies at all .. while this, i've learned, is only a QT acting role, i really enjoyed it .. i'm surprised by the negativity of the comments by others .. seems this is either a love/hate movie or a sore point with QT aficionados .. whatever, i recommended it to my friend and do so to others who enjoy quirky little movies with a touch of magical realism together with a nice soundtrack .. i smile recalling the many scenes that entertained .. no deep meaning or message here, just a fun way to spend a little time while passing through an evening .. i'm no fan of Las Vegas, where the movie is set, but the little motel with its homage to film stars of the 1950's hearkens ones memory back to a time when the Strip was much less commercialized and overdone, a time when life seemed simpler, more magical, and just plain fun .. check out this little gem for yourself