Director: Mark Jones
Writer: Mark Jones
Cast: Warwick Davis, Jennifer Aniston, Ken Olandt, Mark Holton, Robert Gorman, Shay Duffin, John Sanderford, Pamela Mant, John Volstad
Plot: In a delightful drunken stupor, Dan O’Grady (Shay Duffin) comes home to North Dakota from a trip to Ireland, and informs his wife (Pamela Mant) he took a Leprechaun’s pot of gold. That night, the Leprechaun itself (Warwick Davis) springs from Dan’s suitcase and shoves Mrs. O’Grady down the basement stairs. When Dan returns from hiding the gold, he holds up a four-leaf clover – which evidently has the same effect on Leprechauns as crosses to vampires or Kryptonite to Superman – and shoots it. He crates the Leprechaun and is about to torch it, but collapses, seemingly dead.
Ten years later – conveniently explained to us by a title card on the screen – Tory Reding (Jennifer Aniston and her original nose) and her father J.D. (John Sanderford) move into the old O’Grady house, Tory complaining as much as a spoiled debutante who ran away from her dentist fiancé at the altar and just can’t get the hang of life in the big city on her own. She runs into handyman Nathan (Ken Olandt), whose rampant sexism pretty much guarantees they’ll hook up before the end of the movie. In an effort to prove how tough she is, she elects to stay. She also attempts to ply Nathan with Kool-Aid in the basement and finds the crate, waking up the Leprechaun, which means the fact that there are at least seven movies in this franchise is entirely her fault.
The Leprechaun uses a child’s voice to trick Nathan’s evidently mentally-handicapped assistant, Ozzie (Mark Holton) into freeing him from the crate. Ozzie escapes to warn everyone, none of whom believe a word, because even the 12-year-old (Alex, played by Robert Gorman) thinks he’s an idiot. Still, when an unbelievably clear rainbow appears in the sky, Ozzie and Alex follow it to a rusted pickup truck with a gold piece on the front seat. At the house, the Leprechaun scratches Tory’s leg while hiding under the car, then hides in a tree so he can bite J.D., who will apparently stick his hand in any hole that he thinks has a cat in it.
The Leprechaun follows them to town, where J.D. is seeking medical help and Ozzie and Alex look to get their gold appraised. The Leprechaun kills the coin dealer (John Volstad), then rushes off in a toy car – really – until he gets pulled over and kills a cop, too. While he’s doing this, Tory proclaims her vegetarianism, setting up the image of them as being obnoxious and pushy that would last for at least 20 years. The house painting trio take her home and Nathan announces his intention to stay in the house overnight, as all paid house painters do. The Leprechaun finally attacks, catching Nathan in a bear trap and fighting with the whole group.
This happens a little more than halfway through the movie and is followed by a series of set pieces in which he attacks them, sets traps, and tries to get his gold back, because apparently this will make him more powerful. He reclaims the treasure, but has to return and attack again because there’s a single piece missing (which Ozzie swallowed earlier). This is followed by another series of set piece battles, each more humiliating than the last for the good name of the House of Davis.
Ozzie then remembers O’Grady, in a rest home since the stroke he had the night he brought the Leprechaun home, and they decide to seek him out and ask him how to kill it. This, of course, begs the question: If O’Grady knew there was a Leprechaun in the basement of the damned house, why was he selling it in the first place? And furthermore, isn’t that the sort of thing a realtor is required by law to disclose to the new owners? “Spider infestation, leprechaun in basement, total number of murders: 12?” Something like that.
Tory finds O’Grady mangled in the nursing home elevator. Bleeding and dying, he tells her the only way to kill a leprechaun is to put a freshly-plucked four-leaf clover on its body, rendering it vulnerable to more conventional means of killing things. She rushes back to the house, where there’s a clover patch (glowing green, as it turns out), and begins searching for a bit o’ luck. Nathan shows up to save her from the Leprechaun’s latest attack, and the adults continue looking for clover, leaving the child, Alex, to play with a bear trap in an empty barn while there’s a murderous pixie on the loose. He nearly kills the kid, but Ozzie lures him away by revealing the location of the last coin. Tory produces a clover – literally by saying “I believe” – and Alex shoots it down the Leprechaun’s throat with a slingshot. He disintegrates into slime and falls into a well, because at this point Mark Jones said, “what, you mean we need an ending?” But the Leprechaun climbs up once more, so Nathan knocks him back down, fills the well with gasoline, and blows it up in a fashion that would make the Mythbusters cringe.
Thoughts: Isn’t it amazing to think that there was once a time when Warwick Davis could get top billing in a movie over Jennifer Aniston? Even this one? My, what a world we live in.
Despite the fact that this is considered, in some circles, the gold standard of horror movie cheese, I’ve actually never seen it before. And boy, was the cheese factor evident. Warwick Davis wears a costume that’s basically Irish blackface for the entire movie, prancing around like a clown and engaging in antics that would make a circus clown blush. At about the time he rushes off behind Nathan’s pickup truck on a tricycle, Erin turned to me and said, “Do you think he ever regrets doing this?” I replied, “Well, he made five more of them, so if he did, the regret was outweighed by the paycheck.”
This is, in essence, a slasher movie, a kind of last gasp of the great 80s onslaught of brutal killers, and as such, it makes use of the tropes of the genre, including nasty traps and over-the-top set pieces. Unlike the Michaels or Freddies of the world, though, the Leprechaun has a bizarre predilection towards tiny automobiles, which of course makes perfect sense given his origin as a creature of Irish folklore and the fact that he’s 600 years old.
Due to his size, the closest real equivalent to the character in Who’s Who Among Movie Killing Machines would be Chucky, but that’s a comparison that only makes the Leprechaun pale. The first Child’s Play movie, back before they gave up on trying to be frightening and went straight for black comedy, at least had some genuinely creepy moments of a doll coming to life. It’s an image that freaks out a lot of people anyway, and the movie rolled with that, and as a result the battles between Chucky and his larger co-stars never looked nearly as silly as those between the Leprechaun and his. The first “fight scene,” such as it is, shows him clawing at Nathan’s ankle while Jennifer Aniston beats him over the head with a sick. And while this movie is, of course, pre-Friends, Aniston put for them same sort of performance she did every time that series wanted to show her being out of her element – flailing wildly and ineffectually, and frankly, comically.
This movie is trying to be darkly comedic, but fails on every level, primarily on the level that it’s just not funny. The gags are stale, the performances are weak, the characters are awful, and as much as I despise the cult of political correctness, even I start to feel uncomfortable every time Warwick Davis starts singing anything that includes the phrase “fiddle-dee-dee.” By the time he crashes through a fence and leaves a leprechaun-shaped hole behind, you’ve simply got to surrender the entire movie on the grounds that this bit can be wildly funny, but exclusively in old Looney Tunes shorts and that one scene in Who Framed Roger Rabbit?
Considering his Academy-award winning performance in Pee Wee’s Big Adventure, it’s almost sad to see Mark Holton slumming it in this movie. To think that the man who played the chilling master villain Francis Buxton rolled into this film a mere eight years later, doing his worst impression of Lennie from Of Mice and Men and swallowing a gold doubloon because he utterly misunderstood the idea of “biting” when he thinks that will tell him if the gold is real… well, it’s just kind of pathetic.
I know this may draw fire from certain circles of horror fans, but this movie was simply awful. It’s easy to mock, at least, and could potentially be some fun as part of a bad movie marathon while your friends sit around and try to pull out their best Mystery Science Theater 3000 riffs on it, but that’s pretty much where the appeal begins and ends.
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