Allison’s ex, Dillon (Robert Kelly), has returned to town and Gino orders her to ignore him, but even dimmest audience member can figure out who is supposed to be aired up at the end. Another strand has delivery boy (Paul Bisson) so
overwhelmed by his supposed endowment that he hits on nearly every woman in sight.
Director Frank Kerr’s script is overly talky, with toilet humor and sex jokes mixed with long speeches of self-revelation. Only Molly Purves, a plain Jane seemingly stalking Gino, pulls it off as she reveals her true motive.
Purves’ performance suggests what she might have been able to do with a better-written character. Roemele also has some moments as Walter when the retarded janitor struggles to assert himself.
Pic is primarily of local interest for soundtrack featuring popular local bands such as Groovasaurus and Bim Skala Bim. While sound is occasionally muddy (especially in opening narration), the cinematography allows the film’s look to far surpass the circumstances of its production. Cinematographer Charles Papert provides a crisp, clean look throughout, with light changing throughout the
afternoon and evening.
“Last Night at Eddie’s” may play as if it was conceived in a broken-down rest room, but it looks like a million bucks.