Ishtar (1987)

It is a smart, generous, genuinely funny affair and a drolly funny comedy of character and observation with an astute vision of life. The performances, songs and details are singled out for praise.

The critic praises Ishtar as a misunderstood comedy that critiques American foreign policy and parodies male narcissism, which explains its initial rejection. It singles out the humorous scenes in which the female revolutionary manipulates the male leads' egos.

The critic argues Ishtar's notorious reputation as a disaster is undeserved, calling it uneven but often hilarious and recognizably the work of Elaine May. He singles out the deliberately terrible songs and the stars' full commitment to playing inept characters for praise.

It is a likable, good-humored hybrid of small funny moments and oversized spectacle, not a disaster like Heaven's Gate despite the hype around its cost and production.

The review notes that Ishtar was reviled on arrival but now appeals to revisionist cinephiles, allowing a fresh look at Elaine May's directorial effort. It highlights the film's troubled production and lack of special features on the Blu-ray while acknowledging its cult status.

The critic calls the film so bad it could almost be deliberate, with fatal miscasting of Hoffman and Beatty and an unfunny script. It singles out the premise of the talentless duo as spies for opposing sides as the core of its absurd plot.

The critic calls it a truly dreadful, lifeless film with a thin plot and exhausted performances from its stars. Only Charles Grodin supplies laughs as the CIA man.

Ishtar is a brilliantly silly comedy sabotaged by its studio; the critic singles out the first act's cringe-inducing songwriting scenes and the hilariously chaotic desert shootout for praise.

The critic views the film as a sharp, metatextual satire that balances farce, empathy, and critique of ambition and geopolitics. They single out May's handling of the two talentless singers' delusional dreams and their entanglement in political machinations for particular praise.

The critic defends Ishtar against its notorious reputation, calling it a goofy and frequently inspired buddy comedy whose failure unfairly ended May's directing career. He highlights its freewheeling improvisatory rhythm and energy as part of May's broader skewering of male ego and friendship.

The critic calls it a worthy, bizarrely unique comedy ahead of its time that holds up better today, elevated by Hoffman and Beatty's charming friendship and deadpan performances. They single out the convoluted plot involving political intrigue as a weakness that muddles the story.

Ishtar is discussed as one of the biggest flops of all time that became a byword for Hollywood turkey, but recent reevaluations suggest it is ripe for appreciation of its merits amid production woes.