Back to Back Reviews

Stylish editing and a supporting cast of comedians in time-killing roles dress up--but fail to disguise--BACK TO BACK's thin story, resulting in a film that is as forgettable as its title. Yakuza Koji (Ryo Ishibashi) and his Elvis-obsessed partner, Hideo (Koh Takasugi), arrive in Los Angeles to assassinate a Mafia chieftain who has reneged on a business deal. On the same day, former police detective Bob Malone (Michael Rooker) learns that his house soon will be repossessed, and he will probably lose custody of his teenaged daughter, Chelsea (Danielle Harris). Outside the bank, Malone helps foil a robbery attempt. But instead of being thanked, he is taken in for questioning by Tony Dusseeq (John Laughlin), whose scapegoating of Malone was the cause of his removal from the force. One of the robbers (Bobcat Goldthwait) escapes to a restaurant where he holds the patrons hostage--including the two yakuza, who are waiting there for Delorenzo (Frank D'Amico), the restaurant's owner and their target. In a shootout, they overpower the bomber and are separated when Koji is taken in by the police for questioning. At the police station, Koji steals a gun, kidnaps Malone and his daughter, and demands that they drive him to their home so that he can hide out. Dusseeq, who is working for Delorenzo, surmises Koji's mission and whereabouts, and reports to Delorenzo's men. Malone overpowers Koji just as the Mafia goons arrive at his house. Together, Malone and Koji kill the goons in a gun battle. Malone realizes that he must help Koji complete his assignment or else Delorenzo will come after him and Chelsea. Malone takes Koji to meet with Hideo, only to find him dead of wounds from the restaurant shootout. They return to the restaurant and, using surprise tactics, get the drop on Delorenzo and his men. Delorenzo offers to make a deal with them, including selling out Dusseeq. Dusseeq arrives just in time to hear this, and adds his own gun to the standoff. In a final battle, all are killed except Malone and Chelsea, who travel to Memphis to fulfill Koji's dying wish: that Hideo's ashes be scattered over Elvis's grave. BACK TO BACK's primary virtue is its casting. Michael Rooker's features are far too rough-hewn for him to make it as a Hollywood leading man, but he's a compelling presence. There are hints here that he could do well with comedy, but unfortunately the filmmakers don't take much advantage of that. And he pairs well with Ryo Ishibashi, who either gives a good performance or merely seems to in relation to the comedians who pad out the film in supporting bits. Either way, his cool stoicism commands attention more than anything else in the film. Like so many low-budget movies of the 1990s, BACK TO BACK aims for postmodern hipness by piling on trash-culture details. This can be amusing in small doses, like the sign on a 24-hour strip club advertising a morning breakfast special with every lapdance, but seem merely forced when spun out into something larger, like the Elvis theme. (Most of the soundtrack consists of Elvis soundalikes, and the dying Hideo is blessed with a visit from The King.) The action scenes (to which all the rest of this is filler) are above average for a production of this size, aided by strong camerawork and some snappy editing. As a psychotic bomber, manic comedian Bobcat Goldthwait makes one wonder why he doesn't get cast in more villainous roles; on the other hand, despite his prominent billing, he's in and out of the film so fast that he doesn't have a chance to overstay his welcome. (Graphic violence, profanity, adult situations.)