re you sure you’re all right?” When the extraordinarily clumsy Valerie Highsmith (Sheila Kelley) heads to Mexico for a tropical vacation, her wealthy corporation-owning father (Sam Wanamaker) is immediately regretful about allowing her to head out on her own. After all, she isn’t just a klutz; she’s also exceptionally unlucky, not only having her luggage destroyed by the airline, but also accidentally falling from the balcony of her hotel room, before then becoming the target of thieves as she takes a stroll through the streets of Acapulco, which leads to a knock on the head that leaves her momentarily forgetting her own identity – and in the conniving hands of a shady smalltime conman (Scott Wilson).

A month later, Valerie is still missing – and there haven’t been any demands or ransom notes. The elder Highsmith is at his wits ends, having consulted psychics, astrologists, fortune tellers, and more; he’s also had a private detective, Raymond Campanella (Danny Glover), and his team scouring Mexico for clues. With no better ideas, the mogul’s psychologist, Dr. Julius Monosoff (Harry Shearer), suggests that in order to find the unluckiest woman alive, they should bring the unluckiest man in the world with them to reopen the investigation in Acapulco. And so, accountant Eugene Proctor (Martin Short), suffering from what is described as coincidence misfortune syndrome, is brought aboard to lead Campanella’s search, hoping that his utter lack of fortuitous kismet will have him accidentally stumbling into the same situation that befell Valerie, thereby solving her disappearance.

“This man has been hit by lightning, twice – once while inside a movie theater!” Opening with the recognizable zip and zaniness of main title theme music by Danny Elfman, “Pure Luck” sets about establishing the various ingredients for great misfortune. Yet it tends to grow repetitious when it comes to slapstick; Short bumps into things, trips, or falls over far too many times – though it’s admittedly funny when he stabs himself in the face with a straw while drinking juice. Fortunately, he’s quite likable, not just due to his underdog status, but also, primarily, because of his chipper attitude; despite all the circumstances in which he loses out, his optimism and high spirits are rather endearing and enjoyable. “I know what I’m doing.”

Since Short is so silly (seemingly perpetually concussed), gullible, unprepared, and unknowledgeable, it’s fitting that he’s partnered with a far more serious and capable fellow, allowing for some spirited back-and-forth confrontations, good cop/bad cop routines (or novice/tough guy skits), and confusions over who exactly is in charge. Curiously, the premise here is incredibly similar to “The Hard Way” from the same year (released just a few months prior), which utilized a seasoned professional contending with the moronic tendencies of a goofball way out of his element. As with that picture, despite the potential for harsher violence and consequences, the mood here remains lighthearted and flippant. “My life was dull before I met you.”

Though the story is slight – a mere setup for gags about ineptitude and calamity – it’s difficult to completely dismiss the appeal of Glover and Short bickering and then making up, even if a certain monotony sets in. During several sequences, it’s almost as if the script runs out of ideas. Yet the humor of hapless crises continuing to arise, with Short persevering with an uncanny serendipity, helps this comic mystery remain modestly entertaining. Its series of nutty misadventures, peppered by accidental racism, pratfalls and other physical hijinks, and a handful of laugh-out-loud moments, are watchable, despite lulls cropping up in each act. And by the end, it opts to conclude on another airy joke rather than a sensible solution – though it’s a satisfying choice. “I’ve been in hospitals all over the world.”

– Mike Massie