In 1994 everyone in Hollywood wanted to be a kiddie-movie mogul, less for art or altruism than the perception left by hits FREE WILLY, JURASSIC PARK, and THE FLINTSTONES that the "family film" market was a vast reservoir of profit just waiting to be slurped up. Naturally the opportunistic
Roger Corman joined in with features like A CRY IN THE WILD, THE SKATEBOARD KID, and LITTLE MISS MILLIONS.
This last, despite its Runyonesque title, is slack, flavorless filler about modern bounty-hunter Nick Frost (Howard Hesseman), a guy as cold as his name. He's not supposed to be distracted by sentiment from his assignment to retrieve runaway 12-year-old heiress Heather Lofton (Love Hewitt) and
drag her back to her wicked Beverly Hills stepmom Sybil (Anita Morris). Nick nabs Heather in Denver, Colorado, and she pleads her case before the stone-faced hero during a tedious trek to California. But hey, it's the holiday season, after all, and when Nick discovers that Sybil has been spending
Heather's trust fund, he shows up at the mansion to warn her never to mess with the child again. Saintly Nick escorts Heather to her birth mother's Denver home, as a Christmas star shines overhead.
LITTLE MISS MILLIONS is the work of Corman's veteran filmmaking team of Jim Wynorski and R.J. Robertson, specialists in sleazy sequels and campy cult-horrors like BIG BAD MAMA II, THE RETURN OF SWAMP THING and 976-EVIL 2: THE ASTRAL FACTOR. The duo's usual trashy enthusiasm seems muted here--no
surprise--and an in-joke about Hesseman's TV role in "WKRP in Cincinnati" is as inventive as LITTLE MISS MILLIONS ever gets. Regardless, Corman's New Horizons Home Video proceeded in 1994 to inaugurate a "Family Fare Division" dedicated to cranking out "the sort of films Disney released in their
early days but no longer makes," as a spokesman put it. New Horizon's first sally under that proud banner: MUNCHIE STRIKES BACK.
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- Released: 1994
- Rating: PG
- Review: In 1994 everyone in Hollywood wanted to be a kiddie-movie mogul, less for art or altruism than the perception left by hits FREE WILLY, JURASSIC PARK, and THE FLINTSTONES that the "family film" market was a vast reservoir of profit just waiting to be slurpe… (more)