Ratatouille’s Anton Ego had me convinced that even a bad film is still worth more than the criticism describing it as worthless.

Tapeheads, unfortunately, is indescribable. The bewilderment it enduces cannot be paraphrased; it must be experienced to be comprehended.

Suffice it to say that Tapeheads makes Date Movie seem thematically unified, narratively coherent, and funny.

I had modest hopes when it began with security guard Tim Robbins using a closed circuit TV console as a music video editing suite, but this moment of inspiration is followed by vignette after non sequitor vignette, every half-hearted cameo a missed opportunity.

The only positive thing about the first-take quality of each scene is the opportunity to see some refreshingly unrehearsed acting from John Cusack who has some awkwardly spontaneous moments.

I readily acknowledge the possibility this one just went over my head, as a review featured on IMDb declares that “Tapeheads is one of the great American comedies of the 1980’s, and one of the most underrated movies ever made” (Gregory R. Greco), but this is one joke that has to be explained to me.

Just to rub in my density, here are some more quotes demonstrating how simple I am:

“Tapeheads is a surprisingly perfect satire of the eighties made at the end of the eighties. It is very funny, with an intelligent script and great dialog.”

“It’s fun, hilarious, clever, poignant, hip and full of great cameo’s…”

“I can’t explain why but I’ve watched this a hundred times and I keep laughing…”

Needless to say: I missed the boat on this one, kids!

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