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FEATURING: , Paul Walker, Theo Forsett, Terry Kiser, Ellen Dubin
PLOT: Mad scientists transfer Tammy’s boyfriend’s brain into a Tyrannosaurus rex.
COMMENTS: What can you say about a movie called Tammy and the T-Rex that the title doesn’t already tell you? The movie indeed gives us both Tammy (debuting 90s bombshell Denise Richards, whose earnestness as a dino’s gf helps sell this absurdity) and a T-rex (a 13-foot animatronic model capable of rolling its eyes, lowering its eyelids, curling its lip, and clamping its jaws—and not much else).
Obviously, the latter of those two is the star and the film’s raison d’être. Literally so: the movie’s producer funded the film specifically because he had access to the animatronic model for two weeks, and asked writer/director All credit goes to Raffill for taking the lemon he was handed here and making reasonably palatable lemonade. Tammy and the T-rex garnered no awards—it didn’t even get a theatrical release—but the energy never flags, and it’s a reasonable way to burn 90 minutes.
Raffill’s checkered resume included the Star Wars spoof The Ice Pirates, the execrable E.T. ripoff/McDonald’s commercial Mac & Me, and a forgotten sequel to Mannequin; so to say that Tammy and the T-rex is his greatest contribution to film may seem like moderate praise, at best. But the movie fills its “dumb fun” niche admirably. It’s helped by some lucky casting: Richards is joined by fellow then-unknown Paul Walker, making for an attractive couple of young leads. These two play their ridiculous situation relatively straight, while the comic mugging is left to the villainous mad scientists and the gay black sidekick (a stereotype, sure, but a pioneering character in 1994). Terry Kiser (Weekend at Bernies) shows what he can do in a non-corpse role, which is speak in a funny German accent, pose as a chain-smoking surgeon, and deliver lines like “We must remember that he’s going to a far, far better place… Helga, take him to the morgue.” That said, none of his antics are quite as funny as the scene where Tammy plays charades with the T-rex, or when the dinosaur checks a pay phone for quarters. The film is aware of its own cheesiness, but unpretentiously so; it hits the difficult mark of self-mockery that isn’t self-congratulatory, something that more recent spoofs like Sharknado miss badly.
The broad comic tone is like afilm without the misanthropy and shock value. It feels like one of the campy, late night B-movies that used to run on cable’s “USA Up All Night” in the 1990s, movies edited for content to produce PG-13 versions of goofy-but-exploitative drive-in features. Which leads directly to the next point: although Tammy plays mostly like a PG-13 creature feature/teen rom-com, it does feature incongruous moments of R-rated gore—heads getting ripped off torsos by tyrannosaurus jaws, that kind of thing. The original film was released in most countries in a “clean” version, while the alternate cut with gore and more swearing played in Europe. The U.S. VHS tape, where most people originally saw the movie, featured the sanitized version. The “gore cut” was thought to be lost until Vinegar Syndrome found and restored an Italian 35mm print. I’m not sure the extra blood and guts adds too much (does making your actors clutch pig intestines to their abdomens ever add too much?), but it is a novelty, and it did provide an excuse to re-release Tammy to film festivals and in a deluxe Blu-ray set. Look for it to run as a second-tier midnight movie when repertory theaters reopen.
WHAT THE CRITICS SAY:
“…ludicrously, brilliantly weird; a ‘bad’ movie that, by embracing its campy tone and demonstrating a slight-but-significant self-awareness, is really anything but.”–Shaun Munro, Flickering Myth (festival “gore cut” screening)
(This movie was nominated for review by “Kristie.” Suggest a weird movie of your own here.)