Here’s an example of a movie I always remember being better than it is. Over the years I’ve returned often to this strange mix of comedy and intrigue with fond memories of fun only to wind up 106 minutes later wondering why I thought it was so great.  Don’t get me wrong, as a showcase for rising star Whoopi Goldberg, Jumpin’ Jack Flash is aces but considering the actress was coming off her Oscar-nominated breakthrough performance in The Color Purple and was several years away from winning her Oscar for Ghost, one can’t help but see this as a minor blip on her way to the A-list.

You aren’t wrong in thinking the role of a lonely bank employee that gets roped into a real-life spy adventure is a strange fit for Goldberg.  Just like Sister Act was conceived as a vehicle for Bette Midler, Jumpin’ Jack Flash was intended for Shelley Long who opted for The Money Pit and Outrageous Fortune instead.  Aside from a few instances that were surely the result of Goldberg’s improvisation, the dialogue and overall plot seems generally unchanged from when it was Long’s…and that’s problematic.  With no discernible personality, Goldberg’s character (and the actress herself) struggles at the confines of a screenplay that often works against her more than it does her any real favors.

After original director Howard Zieff was fired after a few weeks of filming, actress and first-time director Penny Marshall was brought in and that also doesn’t exactly help things.  While Marshall would go on to have several notable efforts like Big, A League of Their Own, and Awakenings, the rookie mistakes are evident.  Though it has comedy in fits and starts, the tone of the movie is all over the place.  One moment it’s an office comedy, then it’s an international thriller before getting Keystone Kop-y after Goldberg finds herself locked in a telephone booth tethered to the back of a tow truck.

With all these items in the minus column of my critical spreadsheet, why do I keep returning to this one?  Clearly, it’s Goldberg and it’s thanks to her the movie remains a rainy day option.  Managing to sell most of the malarkey dialogue she’s tasked with, Goldberg’s NYC vibe creeps in at opportune times.  I still get a kick out of her conning her way into a royal gala at the British embassy dressed as Diana Ross and lip-synching to one of the singer’s tunes.  While the telephone booth scene is quite screwball, listening to Goldberg riff on her situation provides some nice chuckles.  Let’s also give a hand for a fine supporting cast of familiar faces and a great big roll of the eyes at the ancient computer technology that at one time was cutting edge.