Hairpieces, Handicaps, and Heart Hit the Mark

Read Time:5 Minute, 28 Second

MOVIE REVIEW
Kingpin (4KUHD)
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Genre: Comedy
Year Released: 1996, Kino Lorbver 4K 2025
Runtime: 1h 54m
Director(s): Bobby Farrelly, Peter Farrelly
Writer(s): Barry Fanaro, Mort Nathan
Cast: Woody Harrelson, Bill Murray, Randy Quaid, Vanessa Angel, Chris Elliott, Richard Tyson, Lin Shaye, Zen Gesner, Daniel Greene, Roger Clemens
Where to Watch: available May 27, 2025, pre-order your copy here: www.kinolorber.com or www.amazon.com

RAVING REVIEW: Kicking things off with the energy of a bar fight and the tact of a bowling alley brawl, this one doesn’t pretend to play by the rules. What first seems like a mess of juvenile jokes and chaotic detours slowly reveals something more deliberate beneath the surface. The comedy keeps swinging, but between the slapstick and absurdity, a weird sincerity pulls you closer. It’s the story where every bad choice adds to the wreckage—and somehow, the wreckage holds.

At the heart of this story is Roy Munson, a one-time bowling prodigy whose ego, poor judgment, and scamming ways leave him physically and professionally wrecked. With one hand mangled and his reputation in ruins, Roy becomes the kind of guy who numbs his past and pain with a bottle. But Woody Harrelson doesn't coast on caricature—he takes this washed-up has-been and layers him with just enough humanity to keep us curious. Roy is a loser, sure, but he’s not beyond redemption. And that's what gives the performance weight: Harrelson never lets Roy off the hook, but he also doesn’t let him become a punchline alone.

That redemption arc begins when Roy crosses paths with Ishmael, an Amish man with an unexpected gift for bowling. The contrast between the two isn’t just visual or comedic, though both are certainly played for laughs—it’s moral. Ishmael, played with boundless energy by Randy Quaid, is sincere, a wide-eyed optimist stumbling into a world that couldn’t be more incompatible with his upbringing. Quaid takes the role beyond simple naivete; his Ishmael genuinely believes he’s doing good, even when the path is led by a man who probably shouldn’t be anyone’s guide.

Claudia, played by Vanessa Angel, rounds out the trio. She’s presented as the sharp-tongued wildcard with her motivations, and while she enters the story under the pretense of aiding Roy and Ishmael, her dynamic is more than a foil. Unfortunately, her development never quite matches the others’. She’s given the spark, but not the oxygen—her backstory is hinted at, her motivations suggested, but the film often returns her to the role of mediator or object of rivalry rather than letting her take the reins. Still, Angel brings a presence that holds its own and keeps the film from becoming a complete boys-club circus. Truthfully, her portrayal is of the time; it’s not an excuse, but that was her character in most of her roles during that period.

Of course, every good underdog sports story needs an antagonist, and here that role goes to Bill Murray, whose portrayal of Roy’s sleazy rival, Ernie McCracken, is equally brilliant and distorted. Every line, every gesture is exaggerated to maximum effect. His performance walks right up to the edge of absurdity and teeters there without falling in. Murray’s character is a warning of what Roy could become—or perhaps already is—if he doesn’t change. It’s a performance that doesn’t scream for attention but steals it anyway, using everything from tone to “hair” to make you uncomfortable in the most watchable way.

What helps this strange concoction work is its refusal to commit to one style. KINGPIN doesn’t pretend to be refined or restrained. It thrives on immaturity—gleefully deploying juvenile jokes, gags, and awkward physical comedy. But even at its most excessive, the humor often lands because it’s delivered without hesitation. There’s a confidence to the madness that’s rare in comedies afraid of pushing boundaries.

What the film gets right is its tone. It constantly dances on the edge of going completely off the rails but knows when to pull back just enough. It never lets its chaos overwhelm the characters. Even when things get ridiculous, there’s a steady hand behind the wheel making sure you can still find the heart beneath the havoc. It’s a rare balance; even when it falters, it never fully loses its grip.

This story doesn’t aim to redefine anything, and that’s part of its charm. It sets its sights on absurdity, adds enough emotional scaffolding to hold things together, and then barrels forward without apologizing. The humor won’t land for everyone, especially those averse to crude comedy, but there’s a strange honesty in how committed it is to being its mess.

This isn’t a polished story. But it has grit, personality, and the rare ability to surprise you right when you think you’ve figured it out. It makes the gutter look good—at least for a while—and reminds us that sometimes, the most unexpected strikes come from the most crooked deliveries.

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[photo courtesy of KINO LORBER]

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