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Oct 25

Review: Wayne’s World (1992)

It’s Wayne’s World, Wayne’s World! Party time! Excellent! Much like the Blues Brothers before it, Wayne’s World began life as a Saturday Night Live skit. Taking those short bursts of comedy and stretching them into a feature length film has proven to be a risk – Coneheads or Night at the Roxbury anyone? The sketch is usually based around a singular joke that is told in many ways doesn’t correlate to the big screen, but Wayne’s World, that was different.

Twenty years after its release, Wayne’s World keeps on giving through its now iconic filmography. Who doesn’t head bang to Queen’s Bohemian Rhapsody or “schwing” at an attractive female as she crosses your path? The laughs have aged well and are still as funny as they were in 1992, down in part to the delivery from Myers and Carvey.

The story sees local cable access show Wayne’s World, hosted by Wayne Campbell (Mike Myers) and Garth Algar (Dana Carvey) exploited by evil tycoon Benjamin (Rob Lowe) who just wants to make money from fat cat Noah Vanderhoff (Brian Doyle-Murray). As well as stealing Wayne’s show, Benjamin looks to steal Wayne’s girlfriend, Cassandra (Tia Carrere) too! Determined to win her back, Wayne puts on a very special edition of Wayne’s World to promote her act to a top level producer.

As you’d expect, the film brings with it an epic soundtrack featuring Queen, Alice Cooper, Hendrix, Clapton and of course Tia Carrere. In fact, it is Carrere’s screeching vocals that really get you bobbing along throughout the film. It moves at pace following the idiotic leads on their adventure to the big time, standing the test of time in their wake.

Still an enjoyable, laugh out loud adventure, one of Myers’ best pieces of work. Why bother with ‘The Love Guru’ when everybody would have been more satisfied with a third Wayne’s World? Who wouldn’t want to see what Wayne has made of his life twenty years after Wayne-Stock? Did he live the Scooby-Doo ending or the mega-happy ending? It doesn’t matter as Wayne and Garth live on in perpetual puberty committed to celluloid, ready to entertain us whenever we so desire.

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