Alright, buckle up, fellow tape travelers, because today we're digging deep into the back corner of the video store, past the action heroes and horror icons, to pull out a title that might elicit a groan, a chuckle, or maybe even a surprisingly fond memory: 1997's Ernest Goes to Africa. KnowWhutImean?
### That Familiar Denim Vest, A World Away
Seeing this one pop up on the New Releases shelf back in '97 felt… well, a little weird, didn't it? Ernest P. Worrell, the rubber-faced, endlessly accident-prone good ol' boy created and embodied by the singular Jim Varney, had already been to camp, saved Christmas, gotten scared stupid, and even gone to jail. Africa felt like a particularly random passport stamp for America's favorite simpleton. By this point, the theatrical glory days of the Touchstone-produced Ernest films were behind us, and our denim-clad hero had firmly landed in the direct-to-video market. Yet, there he was, ready for another adventure, bless his chaotic heart. This particular outing was actually the first Ernest flick not produced by Disney or Emshell, marking a shift to independent production under Blake & Company Productions, a sign of the changing tides for the franchise.
### Diamonds Aren't Ernest's Best Friend
The plot, as you might expect, is pure Ernest fodder, flimsy but functional enough to hang gags on. Ernest, working as a cleaner (or maybe it was mall security this time? His resume was… diverse), accidentally gets swept up in a plot involving stolen diamonds known as the "Eyes of Igoli." He crafts a yo-yo out of them (because of course he does) and ends up attracting the attention of Rene Loomis (Linda Kash), a waitress dreaming of escaping her mundane life, and the ruthless collector Mr. Thompson (Jamie Bartlett), who wants those jewels back. Mistaken identity, cartoonish villainy, and a trip to the titular continent ensue.
What's interesting here is the change of scenery. Filmed entirely on location in South Africa, specifically around Johannesburg and the famous Sun City resort, the movie at least tries to leverage its setting. It’s a far cry from the usual suburban or rural backdrops of earlier films. Does it look expensive? Not exactly. The direct-to-video budget constraints are palpable, giving it that slightly threadbare, rushed feeling common to late-franchise entries. But seeing Ernest bumble his way through bustling markets and wildlife encounters offers a certain novelty. South African actor Jamie Bartlett, often known for more intense roles in his home country, clearly leans into the camp required to play opposite Varney's whirlwind of goofy energy.
### Varney's Unstoppable Goofball Energy
Let's be honest: you didn't watch an Ernest movie for intricate plotting or nuanced character development. You watched it for Jim Varney. And even this late in the game, Varney throws himself into the role with absolute, unwavering commitment. His physical comedy is relentless, a whirlwind of pratfalls, funny faces, and that distinctive "Eeeewwwww!" The man could contort his face like silly putty and took bumps that would make a stuntman wince. It’s a testament to his unique talent that Ernest remained watchable, even when the scripts felt thinner than usual. Linda Kash, a reliable Canadian comedic actress (you might recognize her as the Philadelphia Cream Cheese Angel!), makes for a decent foil as Rene, providing a more grounded (well, relatively speaking) presence for Ernest to bounce off. She gets swept up in the absurdity rather than just reacting to it, which helps.
John R. Cherry III, the creator of Ernest and director of most of his cinematic outings, keeps things visually consistent with the established Ernest style – lots of quick cuts during chaotic sequences, point-of-view shots from precarious angles, and letting Varney dominate the frame. There's no mistaking it for anything other than an Ernest movie, for better or worse. The humor is broad, relying heavily on slapstick, misunderstandings, and Varney's repertoire of facial expressions. Some gags land with a chuckle of recognition ("Classic Ernest!"), while others… well, let's just say comedy is subjective and evolves.
### Finding the Gem in the Rough?
Ernest Goes to Africa isn't top-tier Ernest. It lacks the slightly bigger budget and tighter scripting of Ernest Saves Christmas or the nostalgic charm of Ernest Goes to Camp. It arrived at a time when the character's cultural ubiquity was fading, relegated from multiplexes to the home video racks alongside other fading stars and action B-movies. The jokes can feel repetitive if you've seen the others, and the plot mechanics creak noticeably.
However, there's an undeniable sincerity to Jim Varney's performance that elevates it slightly above pure cash-grab territory. He loved playing Ernest, and it shows. For fans who grew up with the character plastered across TV commercials and movie screens, finding this tape offered another chance to spend 90 minutes with a familiar, goofy friend. It’s pure, unadulterated late-90s DTV fare – predictable, low-stakes, and aimed squarely at existing fans. I distinctly remember seeing this on the shelf at Blockbuster and thinking, "They're still making these?" Yet, curiosity often won out.
Rating: 4/10
Justification: While Jim Varney's commitment is commendable and the change of scenery offers mild novelty, the thin plot, obvious budget limitations, and recycled gags place this firmly in the lower ranks of the Ernest canon. It lacks the spark of the earlier films and feels very much like a direct-to-video obligation. It functions purely on the strength (or tolerance) of one's affection for the main character.
Final Thought: Ernest Goes to Africa is like finding that worn-out novelty yo-yo at the bottom of your childhood toy box – maybe not the crown jewel of your collection, but holding it brings back a specific, goofy memory you didn't even know you still had. KnowWhutIMean?