Alright, VHS Rewinders, let's pop in a tape that practically smells like 1993. Remember that fluorescent splash of weirdness known as Pauly Shore? He wasn't just an MTV VJ; for a brief, baffling window, he was a bona fide movie star. And if Encino Man (1992) cracked the door open, then Son in Law slammed it wide, unleashing "The Weasel" onto unsuspecting middle America, much like his character crashes onto a conservative family farm. Pull up a beanbag chair, maybe crack open a Jolt Cola (if you dare), because we're diving into this quintessential slice of early 90s fish-out-of-water comedy.
### Farm Fresh Meets Totally Rad
The setup is pure sitcom gold, cranked up to eleven with Shore's unique... energy. College freshman Rebecca Warner (Carla Gugino, radiating charm even then) returns home to her family's South Dakota farm for Thanksgiving break. The twist? She brings along her L.A. resident advisor, Crawl (Pauly Shore), a neon-clad, slang-slinging wild card who's about as subtle as a rave in a library. Becca's hoping Crawl's presence will ease her parents (Lane Smith and Cindy Pickett) into her decision to stay in California, but Crawl being Crawl, things escalate. A spur-of-the-moment fake engagement designed to ward off Becca's clingy townie boyfriend Travis (remember Dan Gauthier?) turns into a full-blown culture clash that fuels the entire film.
Directed by Steve Rash, who also gave us the surprisingly sweet Can't Buy Me Love (1987), Son in Law knows exactly what it is: a vehicle for Pauly Shore's persona. The plot is serviceable, hitting all the expected beats – disapproving dad, initially charmed mom, bewildered younger brother (Patrick Renna, aka Ham from The Sandlot!), and the eventual thawing of frosty relations. But let's be honest, you didn't rent Son in Law for intricate plotting. You rented it for the Pauly.
### Wheezin' the Juice, 90s Style
And Pauly delivers, for better or worse, depending on your tolerance for his relentless shtick. Crawl is essentially Shore’s established MTV persona transplanted onto a farm. The endless stream of catchphrases – "wheezin' the juice," "buff," "grindage" – feels less like character dialogue and more like a live recording of "Totally Pauly." It's fascinatingly dated now, a linguistic time capsule of an era trying so hard to be cool and laid-back. Reportedly, Shore did a fair bit of ad-libbing, blurring the lines between himself and Crawl even further. Watching it today, you can almost see the filmmakers just letting him riff, hoping for comedic gold.
But here’s the surprising thing: it often works, thanks largely to the supporting cast. Carla Gugino is immensely likable as Becca, grounding Crawl's absurdity with genuine warmth. She manages to sell the unlikely friendship, and later, the maybe-romance, with a surprising sincerity. And the late, great Lane Smith as Walter Warner Sr. is the film’s secret weapon. His slow burn reactions to Crawl’s antics are priceless. He plays the stern, traditional patriarch perfectly, making his eventual, begrudging acceptance of Crawl feel genuinely earned. Their dynamic provides the movie’s comedic backbone. Remember the scene where Crawl gives Walter a punk-rock makeover? It’s ridiculous, sure, but Smith’s deadpan commitment sells it completely.
### More Than Just Manure Jokes
While the film leans heavily on the "city slicker on the farm" trope, it occasionally finds moments of genuine charm. The sequence where Crawl attempts farm chores – culminating in a chaotic joyride on a combine harvester – is pure slapstick, executed with a certain goofy energy. Filmed largely around Visalia, California, standing in for South Dakota, the movie captures that contrast between Crawl's neon L.A. aesthetic and the earthy tones of farm life effectively, if predictably.
It’s easy to dismiss Son in Law now, but back in '93, it connected. Made for a modest $7 million, it raked in over $36 million at the box office – a solid hit that proved Shore's appeal wasn't just limited to MTV viewers. Critics weren't exactly kind (were they ever to Shore?), but audiences, particularly teens and college kids scrolling channels late at night, found something relatable in its goofy rebellion against stuffy traditions. It tapped into that universal feeling of bringing someone "different" home to meet the family.
The soundtrack, packed with 90s alternative and pop-rock, further cements its place in time. It's the kind of movie that feels tailor-made for fuzzy CRT viewing, the slightly washed-out colours and Pauly's loud outfits practically bleeding into each other. There are no mind-blowing practical effects here, no death-defying stunts – the biggest spectacle is probably just Shore's hair. But the comedy, broad as it is, relies on timing, reaction shots, and the sheer force of Shore's personality.
Overall:
Son in Law is undeniably a product of its time, anchored by a comedic persona that feels both nostalgic and slightly bewildering today. It’s predictable, occasionally crude, and relies heavily on Pauly Shore doing his thing. Yet, thanks to a strong supporting cast, particularly Lane Smith and the ever-watchable Carla Gugino, and a certain goofy, good-natured spirit, it remains surprisingly endearing. It doesn't aim for high art; it aims for easy laughs and succeeds more often than you might remember.
VHS Heaven Rating: 6.5/10
Justification: It delivers exactly what it promises – a Pauly Shore vehicle with plenty of 90s slang and fish-out-of-water gags. Strong supporting performances elevate the simple premise, and there's a genuine, if silly, charm to the whole affair. It loses points for the repetitive nature of Shore's shtick and a predictable plot, but gains them back for sheer nostalgic value and Lane Smith's perfect straight-man performance.
Final Thought: A time capsule comedy that's like finding an old mixtape – maybe not every track hits, but the vibe takes you right back, cruising buds.