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If you've seen the video for “Smooth Criminal,” you've seen the best of Moonwalker, but you haven't seen it all, and by “all” I don't mean the rest of the film, but the kind of sight that merits the expression 'now I've seen it all' (and this isn't necessarily a bad thing; it's weird, but mostly good-weird); coincidentally, these things all happen during the segment containing “Smooth Criminal” — for example, when Michael Jackson transforms into a sports car, a giant robot, and a spaceship (in that order), metamorphoses that result from a trio of children making wishes to various shooting stars.

An pseudo-Autobot hero requires a Decepticon-like villain, and Frankie 'Mr. Big' Lideo (Joe Pesci) is meaner than Megatron himself: an Aggressive Drug Dealer who not only orders his henchmen to hang around parks and schools, but also wants kids to stop praying at school. Aside from being a proponent of church-state separation, Mr. Big is a practitioner of corporal punishment.

Ignoring black and white morality (drugs: bad, religion: good), this really is the appropriate tone for the material; what we have here is basically a fairy tale with a very effective ogre — Pesci's performance was, and dare I say, still is, nightmare fuel for young children.

Speaking of children, one might wonder why these three kids, who in a flashback are seen playing happily in a meadow with Michael, are in the 'present' apparently homeless, but that would be besides the point — particularly because the entire thing is a pretty pointless exercise.

Michael clearly expected the public to take Moonwalker as seriously as he took himself; that is, not too much. Accordingly, the second best segment of the film is "Badder," a parody of the Bad video with children taking on the roles from the original clip.

Finally we have “Speed ​​Demon”, which I'm sure isn't anyone's favorite song, but it's accompanied here by a jubilant mix of live-action and claymation that culminates in another of the film's high points: a dance off between Michael and an anthropomorphic rabbit named Spike.

Moonwalker also includes “Leave Me Alone”, which unlike the segments mentioned above, is presented outside of any narrative context — which would otherwise be redundant, given that the song and video tell a complete and independent story. Moonwalker's intro (“Man in the Mirror,” “Retrospective”) and coda (“Come Together,” end credits) are essentially filler, but everything in between is memorable one way or another.