A revenge-date/sex scene for Barbara is wanted instead of framing scenes; possible divorce consequences and the existing Gavin attempt complicate it.
Keeping two deaths at a mansion out of newspapers seems impossible, particularly with a food critic already involved.
The drop height, delayed simultaneous deaths and surviving movement are questioned, while the ending’s dramatic perfection is defended.
The chandelier improbably supports both people before pulverizing; Oliver should release it before being pulled over.
Neighbors never intervene despite vehicular violence, repeated fires and boarded windows; self-absorption and bystander assumptions are offered as defenses.
One more happy-couple scene is desired to justify the long marriage.
The abrupt transition from passionate night to marriage lacks evidence of a happy life, though an unconsidered relationship may be the point.
Barbara’s oversized vehicle seems excessive for 1989 and modest catering earnings, but is defended as visual characterization of money and power.
Oliver’s dog should have been a dull white Labrador or unpleasant poodle rather than a personable golden retriever, prompting a bad-poodle anecdote.
The children’s immediate aftermath, wills, damaged house and future sale are questioned; another doomed owner would create a domestic Amityville/Shining sequel.
Benny’s possible new loving home is hoped for, against the joke that the survival shot was merely inserted.
The young-Douglas wig, chandelier, figurines, Morgan and car PA system are considered; the car fails the door-fit rule and the chandelier remains a choice.
House/car/wife/shoes as measures of a man is qualified; avoid divorce, heed free advice from an expensive lawyer, avoid drugs and sexual infections are alternatives.
Douglas and Turner together are favored because their partnership makes the film; forced to pick one, Turner is preferred and agreed with because her part offers more range.
A first viewing is enthusiastically praised as deranged, imperfect and freer than contemporary market-tested movies; the strange framing background adds a fairy-tale quality.
The fatal ending is praised but the return to DeVito’s office is criticized; the viewer paused to invite a partner and would have restarted the film.
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