JACK’S BACK (1988) ***

Rowdy Herrington made this a year before his magnum opus Road House.  It’s a twisty little thriller that relies on springing several surprises on the audience, most of which occur before the end of the first act.  Because of that, giving a plot description is a bit of a precarious task.  Just know that Herrington isn’t above using the Kitchen Sink theory of moviemaking.  He uses every plot device from identical twins to psychic links to hypnotism and grafts them onto a solid Jack the Ripper thriller storyline.  

Now, there were plenty of Jack the Ripper movies in the mid ‘80s that capitalized on the hundredth anniversary of The Ripper’s murders.  In addition to Jack’s Back, we also had Terror at London Bridge and The Ripper.  This one is easily the best of the lot.  Whereas those films had a lot of supernatural trappings that made them feel hokey, Jack’s Back concentrates on the psychological aspects on not only the murderer, but the victims as well.

Harrington uses a few cribs from Hitchcock, but adds his own brand of cinematic panache, which makes the old chestnuts feel fresh.  Sure, there’s a few ideas that don’t quite pop like so many kernels in a bag of popcorn.  The climax is a bit needlessly drawn out to boot.  Still, it’s stylish and engrossing enough to keep you entertained.

James Spader is excellent in the lead.  He’s clearly having a ball playing a dual role.  What’s great about his work in this film is it never feels like a casting stunt.  He’s able to develop two distinct characters in a relatively short span of time, each with their own faults, quirks, and ambitions.  So, if you’re a Spader fan like I am, you’re in for a real treat.  The interesting supporting cast includes Cynthia Gibb, Robert Picardo, and Chris Mulkey; all of whom make a memorable impression given their limited screen time.

AKA:  The Ripper.