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The film tells the story of a young man lost in Manhattan who tries to find some direction in life. The sub-plots include a conflict between different drug dealing organizations and the interesting life led by the main character's uncle. The end result: a painfully boring film that fails to develop anything adequately.

Kevin Corrigan plays the lead role of Redmond, who has decided to write a book. On a philosophical quest, he quits his job so he can roam the streets of Manhattan. During his search, he encounters several other characters, including his ex-girlfriend and a slightly paranoid friend from the past.

His ex-girlfriend, played by Lili Taylor, keeps popping up, trying to convince Redmond that he really loves her. He also encounters his old friend Stretch, played by Michael Rapaport (Copland) . Stretch works with a beer distributor currently at war with other beer distributors, so he carries a gun around with him at all times (oooh, realism).

James Woods (in a total prostitution of his acting ability) plays Redmond's uncle, a man involved with drug dealers. He succeeds in pulling his nephew into the drug dealing world and almost gets Redmond killed.

This whole sub-plot should have been killed itself. By trying to mix the drug world and even a godfather-type figure into the film, the screenwriters effectively prevent any adequate development of other worthwhile aspects of the movie.

The primary plot (and the one that should have been developed in lieu of the drug sub-plot) is the romance between Redmond and Megan, a flight attendant (Linda Fiorentino). Redmond, imagining Megan is his guardian angel, falls in love with her at first sight.

The second half of the film focuses almost exclusively on their relationship. However, the screenplay fails to convince anyone that Megan would ever accept Redmond, which just adds to the film's excessive incredibility.

Don't see this film. Even if you go into the film with low expectations, you'll still be disappointed. The plot is misdirected, and the cast either cannot or does not act. Also, the small gunfights evoke those in horrible action films where no one ever gets hit.

Perhaps the best thing about this film is its aptly-worded title because, surely enough, the viewer gets Kicked in the Head

This item appeared in the Arts & Entertainment section of the September 26, 1997 issue.