The title is kind of emblematic of the entire film. "So I Married An Axe Murderer." We can visualize the minimal shrug that goes with it. It's a statement that befouls any logic. If you marry an axe murderer, you should be anything but casual and resigned. But the title suggests a lot of funny events and assumptions without being in itself funny.
It has an A cast. Mike Myers is a young man in San Francisco, an admirer of the Beat poets, who's always found reasons not to marry any of the girls he dates. Myers plays his own father too, with an outrageous Scottish accent which he uses as an instrument of vituperation. One of his sons has a head of hair so voluminous that it turns his head into "a virtual planetoid. It has its own weather system!"
Myers meets Nancy Travis, a local butcher, and they wind up married. She acts kooky at times, while he comes across more and more hints that she is the notorious axe murderer who has disposed of four husbands by the usual means used by notorious axe murderers. It all leads to a perilous chase across the roof tops of their remote honeymoon motel, which looks like a haunted old mansion.
The writer, Robbie Fox, gets off a lot of cracks about Hollywood conventions, some good, some routine. In some ways, the most impressive of these (and it may have been unwitting) is when Nancy Travis has just taken a bath in the mysterious hotel and wants to check her face in the fogged-up mirror over the sink. So she clears a spot. And do you know who we see standing behind Travis in the reflection? Absolutely nobody.
Travis is oddly beautiful, with a wide face, broad smile, eyebrows that would have to look up the word "curve" in the dictionary, and a sassy figure that, alas, we see too little of. Gee, she looks good. Any normal man would have been proud to be seen standing behind her in that mirror.
There are amusing moments, including Charles Grodin as an uncooperative motorist and Phil Hartman as a self-important Park Service employee. The problem is that the laughs are scattered throughout a screenplay that doesn't itself promote amusing situations and the laughter that should follow. (For an example of a truly well-integrated comedy plot with embedded comic moments, I offer "Some Like It Hot.") Myers is kicked in the family jewels and makes a twisted face. A good five-second laugh, but then what? Nothing much. He has to have the same part of his anatomy assaulted again a minute later. Another five-seconds, and we're back to a frenzied pursuit.
It's not a bad movie, not insulting in any way, and Myers and the other players are quite good, but it would have been nice had more effort been put into blending the jokes into the narrative instead of making them stand-alone gags, like Myers' reading poetry to a jazz group