Rating summary

Movie		3.0
Video		5.0
Audio		4.0
Extras		3.5
Overall		4.0

All-American Murder Blu-ray Movie Review

Reviewed by Brian Orndorf May 15, 2021

During his interview for the Blu-ray release of 1991’s “All-American Murder,” actor Charlie Schlatter reveals that he initially met with director Ken Russell about the project, excited that the mastermind behind the psychedelic highs of “Tommy” would be in charge of a minor whodunit with surges of graphic violence. Whatever occurred behind the scenes isn’t clear, but Russell eventually left the project, quickly replaced days before shooting by Anson Williams, who made a name for himself as Potsie Weber on classic show “Happy Days,” spending a full decade making comedy for network television. Williams transitioned to T.V. direction after “Happy Days” ended, banging out episodes of shows like “L.A. Law,” “Hooperman,” and “Just the Ten of Us.” “All-American Murder” is Williams’s feature debut, and if there’s anybody in the business who’s the exact opposite of Ken Russell, it’s Anson Williams. After watching the picture, one gets a sense of what the gonzo “Altered States” and “Crimes of Passion” moviemaker could’ve done with the material. Williams doesn’t embarrass himself, but it quickly becomes clear this type of film is beyond his skill set, unable to sustain initial interest in the details of the central crime.

A former juvenile delinquent with daddy issues and a penchant for pyromania, Artie (Charlie Schlatter) is becoming a real problem as he enters adulthood. His father, a judge, has provided one last chance for his son to prove his worth, sending Artie to Fairfield University, challenging him to become a proper student and focus on his mental health. Instead of keeping a low profile, Artie manages to sleep with Erica (Joanna Cassidy), the dean’s wife, and he grows obsessed with sorority sister/cheerleader Tally (Josie Bissett), a popular presence on campus and a beauty the new student can’t shake. Unwilling to rest until he charms Tally, Artie finally wins a date, but when he arrives for their second outing, he discovers her charred remains, with onlookers accusing him of setting the young woman on fire. Arrested, Artie’s only hope is Detective Decker (Christopher Walken), who’s interested in the kid’s claims of innocence, allowing him 24 hours to clear his name and find Tally’s real killer.

During most of his early career, Schlatter specialized in playing smart alecks, drawn to abrasive characters who were supposed to be sympathetic in some ways, but mostly became obnoxious in a hurry. Performances in “18 Again,” “Heartbreak Hotel” and the “Ferris Bueller” television show highlighted his skill at creating unlikable personalities, and his streak continues with “All-American Murder,” with Schlatter inhabiting Artie, a creepy, possibly psychotic young man who can’t stay out of trouble, living to disappoint his father. There’s some potential for a complex psychological study of a spoiled kid becoming a disillusioned man as he encounters the cruelty of the real world, but writer Barry Sandler (“Crimes of Passion,” “Making Love”) isn’t cutting that deep, instead imagining Artie as impish guy with a fondness for fire and a weakness for women, managing to bed Erica, a highly depressed woman, during his first day on campus.

“All-American Murder” takes about 25 minutes before Walken shows up, and he’s in full Walken mode, doing Walken-esque things, portraying Decker as a basketball-loving cop who’s loaded with stories about his sexual exploits and has a feeling about Artie, following a hunch that the kid didn’t actually burn Tally alive. The set-up for “All-American Murder” is compelling, with Artie forced to defend what’s left of his reputation as the cops close in to arrest him, with Decker giving him a full day to return to the college and interview those who knew Tally best. Sandler provides a decently askew detective story, Walken gets to indulge his well-worn idiosyncrasies (mentally, he seems checked out of the production, but he always looks like that), and the dialogue offers a machine gun rhythm, keeping banter lively if a bit too exaggerated at times.

“All-American Murder” should escalate to real danger as Artie meets with a sorority pledge and Tally’s secret boyfriend, learning more about the victim than he ever thought possible. Weirdly, Sandler doesn’t increase suspense, instead leaning back on long-winded, repetitive conversations between Artie and Decker, who’s keeping an eye on the suspect. Horror elements arrive with a handful of graphic deaths, including a character who takes a power drill to the brain, but this extremity more baffling than terrifying. Williams wants to introduce some shock value, but “All-American Murder” can’t handle the gore, which confuses the tone of the film as it moves from hardcore blood and guts to mildness involving a pipsqueak questioning campus contacts.

All-American Murder Blu-ray Movie, Video Quality 

The AVC encoded image (1.85:1 aspect ratio) presentation is sourced from a 2K scan of the 35mm interpositive. The feature utilizes a lot of close-ups, and facial particulars do very well here, picking up on elements of fresh-faced youth and the wear and tear of age. Costuming remains fibrous. Locations provide compelling campus and small-town dimension, and interiors retain decorative elements, with much livelier offerings around dorm rooms. Colors are tastefully refreshed, with distinct primaries and cooler hues around police activity and Walken's wardrobe. Greenery is lush. Skintones are natural. Delineation is satisfactory. Grain is fine and film-like. Source is in excellent condition.

All-American Murder Blu-ray Movie, Audio Quality 

The 2.0 DTS-HD MA mix offers more aggressive music cues, keeping scoring and soundtrack cuts loud, which occasionally threatens the intelligibility of the dialogue exchanges. Performances aren't lost, maintaining clarity with Walken's usual pronunciation games and Schlatter's chirpy banter. Sound effects are also crisply defined.

All-American Murder Blu-ray Movie, Special Features and Extras 

• Commentary features The Hysteria Continues.

• "Being on a Team" (15:08, HD) is an interview with actor Charlie Schlatter, who initially reveals that "All-American Murder" was originally going to be directed by Ken Russell, recalling a meeting with the filmmaker, where they discussed the working parts of "Tommy." Schlatter has nothing but praise for his co-stars, but goes deep when it comes to Christopher Walken, recalling his kooky ways on-set and his first run-in with the legend, requesting his autograph on a New York City street long before they met. The interviewee praises the script and the Oklahoma locations, and details distribution woes for "All-American Murder," which played a few festivals before it faded away. Schlatter closes with an assessment of his career, happy to be a team player, enjoying ensemble work.

• "A Valuable Experience" (14:47, HD) is an interview with cinematographer Geoffrey Schaaf, who previously collaborated with Anson Williams, working with an established relationship. With only 22 days to work with on "All-American Murder," Schaaf explains the drive to be creative and the importance of planning work, manufacturing storyboards to maintain production rhythm. Style choices are highlighted, with the interviewee extremely interested in the power of color grading, and his describes the Christopher Walken experience, with the men bonding over a shared love for classic cars.

• A Trailer has not been included on this release.

All-American Murder Blu-ray Movie, Overall Score and Recommendation 

"All-American Murder" isn't a successful mystery mostly because the payoff doesn't match the set-up. Sandler doesn't tighten the vise on his lead character despite a premise aching for ridiculous escalation. Still, there's Walken, who's trying to entertain himself with strange material, and the first half of "All-American Murder" has some spunk to it, setting up Artie for the most pressurized 24 hours of his life. Ken Russell may not have been able to go hog wild with the production, but he's certainly capable of mixing the mundane and the bizarre with more directorial electricity than Anson Williams.