My review was written in February 1990 after watching the movie on RCA/Columbia video cassette.
Surprise guest appearance by Sean Penn livens up this otherwise trite "finding myself" direct-to-video release.
Woody Harrelson is the nondescript hero, a budding artist in L. A. who's introduced to us shoplifting for food with his cynical pal Hank Azaria. Cornball plot line is set in motion when he falls in love at first sight with Ely Pouget, who picks him up (for a one-night stand) at an art gallery.
Searching the rest of the film for her, he's the centerpiece for sophomoric satire of art and show biz types by filmmakers Mark Mullin and Richard Shepard. It's the sort of self-indulgent, student film rumination that has obsessed tyro helmers since the '60s.
"Cool Blue", a/k/a "Creative Detour", perks up briefly just when Harrelson is at the end of his tether, having given up his quest to find Pouget. A guy in a bar throws peanuts at him and turns out to be Sean Pen, sporting a blond ponytail. Using a variety of accents, the flamboyant thesp lays a heavy philosophical trip on Harrelson and disappears, like a guardian angel.
This guest shot resembles the equally uncredited cameos by Emilio Estevez, Charlie Sheen and Judd Nelson in exec producer Cassian Elwes' previous pic "Never on Tuesday". Unfortunately, Penn takes a hike and the film returns to its plodding pace: should Harrelson leave L. A. for the New York art world or stay with his buddy and Pouget (when he finally digs her up in the final reel)?
Acting is acceptable, though the supporting cast hams it up. Both Pouget and Harrelson are rather ordinary looking, with another one-night stand, buxom Julie Aronson, stealing the spotlight from the leading lady. Tech credits are on the cheap side.
Surprise guest appearance by Sean Penn livens up this otherwise trite "finding myself" direct-to-video release.
Woody Harrelson is the nondescript hero, a budding artist in L. A. who's introduced to us shoplifting for food with his cynical pal Hank Azaria. Cornball plot line is set in motion when he falls in love at first sight with Ely Pouget, who picks him up (for a one-night stand) at an art gallery.
Searching the rest of the film for her, he's the centerpiece for sophomoric satire of art and show biz types by filmmakers Mark Mullin and Richard Shepard. It's the sort of self-indulgent, student film rumination that has obsessed tyro helmers since the '60s.
"Cool Blue", a/k/a "Creative Detour", perks up briefly just when Harrelson is at the end of his tether, having given up his quest to find Pouget. A guy in a bar throws peanuts at him and turns out to be Sean Pen, sporting a blond ponytail. Using a variety of accents, the flamboyant thesp lays a heavy philosophical trip on Harrelson and disappears, like a guardian angel.
This guest shot resembles the equally uncredited cameos by Emilio Estevez, Charlie Sheen and Judd Nelson in exec producer Cassian Elwes' previous pic "Never on Tuesday". Unfortunately, Penn takes a hike and the film returns to its plodding pace: should Harrelson leave L. A. for the New York art world or stay with his buddy and Pouget (when he finally digs her up in the final reel)?
Acting is acceptable, though the supporting cast hams it up. Both Pouget and Harrelson are rather ordinary looking, with another one-night stand, buxom Julie Aronson, stealing the spotlight from the leading lady. Tech credits are on the cheap side.