Poor, artless Joseph Collins (Christopher Brown) inherits an empty, run-down rooming house. Before he can tidy up, Charlie, Rhonda and their attractive teenage daughter, Daphne (Anastasia Sakelaris), secretly from outer space, drop in for a vacation. They like reluctant, broke Joseph, and Charlie hands him a wad of cash for the rent. The out-of-towners settle in.
TX: TX:Filmed in Los Angeles by Concorde New Horizons and Showtime Inc. Executive producer, Roger Corman; producer, Michael Amato; co-producers, Darin Spillman, Frances Doel; director, Lev L. Spiro; writer, Michael James MacDonald; Dressed like the tourists they are, they do over the old house in no time. But they also commit murder; along with their flashy personalities, Charlie and Rhonda have outre ethics. Sparkling Rhonda, who takes photos of their grotesqueries with her ever-ready flash camera, spouts vulgarities among her quips as she tries cheering up Joseph, while Charlie goes along with her whims and fancies.
She and Charlie are into exploring slums, where they seek out lowlifes whom they antagonize and kill. And bring home portions of for meat sandwiches.
Joseph’s not aware of any of this yet. Daphne’s dizzying folks urge him to take their daughter, who seems to be a vegetarian, to dinner and romance her, which leads to an encounter with bullying drug dealer Jamaal (Edafe Blackmon), who pays dearly for his manners.
Under Lev L. Spiro’s forced direction, Michael James MacDonald’s teleplay, which strives for originality, depends too much on pre-adolescent gags — and gagging. Representative serving: Rhonda, after decapitating a bum, snaps a pic of the severed head and gleefully proclaims: “Great head shot!”
The humor’s obvious, the lingo crude, the situations mostly lame. While MacDonald has neatly set up his premise and created attention-getting main characters, his script bogs down among the excesses; the windup’s a letdown.
Brown’s harassed Joseph is admirably restrained, and Reed’s glittering version of an imported American housewife succeeds beyond expectations and material. She and Wendt, who performs merrily, make a good goofy couple. Sakelaris, baring her bosom for this one, does well enough as the peculiar Daphne.
The silliness palls early on, the wit withers. But MacDonald, Spiro and Co. at least get points for trying something eccentric, even if it plays like a vaude turn.
Jayme Bohn’s costumes are, er, fitting. Tech credits are OK.