Nothing But Trouble
A financier agrees to take a lawyer to her business meeting. On the way, they run a stop sign in a small town in the middle of nowhere and are arrested. But the courthouse and the "prison" are a maze of zany booby-traps and deadly contraptions. The antics of the captured couple as they try to escape from the mad judge and his bizarre family make up the rest of this unusual film.
The film commercial failure against its respectable budget of $40.0M, earning $8.5M globally (-79% loss). While initial box office returns were modest, the film has gained appreciation for its fresh perspective within the comedy genre.
2 wins & 6 nominations
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
Nothing But Trouble (1991) showcases deliberately positioned dramatic framework, characteristic of Dan Aykroyd's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 1 hour and 34 minutes. With an Arcplot score of 7.6, the film showcases strong structural fundamentals.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes Chris Thorne is established as a successful Manhattan financial publisher living a comfortable, urbane life. He's wealthy, confident, and operates in a world of privilege and status.. Structural examination shows that this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 12 minutes when Chris runs a stop sign in the small town of Valkenvania and is immediately pulled over by officer Dennis Valkenheiser. This traffic violation becomes the catalyst that pulls them out of their privileged world.. At 13% through the film, this Disruption is delayed, allowing extended setup of the story world. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 25 minutes marks the transition into Act II, occurring at 26% of the runtime. This shows the protagonist's commitment to Judge Valkenheiser formally charges Chris with multiple violations and refuses to let them leave. Chris realizes they're truly trapped in this nightmare world where his money and status are worthless. They must now survive by the Judge's insane rules., moving from reaction to action.
At 47 minutes, the Midpoint arrives at 51% of the runtime—precisely centered, creating perfect narrative symmetry. Structural examination shows that this crucial beat Chris and his companions witness other lawbreakers being executed by Mr. Bonestripper. What seemed like a bizarre comedy reveals genuine deadly stakes. The realization: they could actually die here. The game is real., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 70 minutes (75% through) represents the emotional nadir. Here, Chris's colleagues are sentenced to death by Mr. Bonestripper. Chris faces the complete failure of everything he relied on—status, money, charm. His old life and identity are symbolically "killed." He's powerless., demonstrates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 75 minutes initiates the final act resolution at 80% of the runtime. Chris realizes they must work together and use genuine wit rather than status. He learns information about the Judge's vulnerabilities and formulates a real escape plan based on understanding people, not controlling them., demonstrating the transformation achieved throughout the journey.
Emotional Journey
Nothing But Trouble's emotional architecture traces a deliberate progression across 15 carefully calibrated beats.
Narrative Framework
This structural analysis employs systematic plot point analysis that identifies crucial turning points. By mapping Nothing But Trouble against these established plot points, we can identify how Dan Aykroyd utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish Nothing But Trouble within the comedy genre.
Comparative Analysis
Additional comedy films include The Ministry of Ungentlemanly Warfare, The Bad Guys and Lake Placid.
Plot Points by Act
Act I
SetupStatus Quo
Chris Thorne is established as a successful Manhattan financial publisher living a comfortable, urbane life. He's wealthy, confident, and operates in a world of privilege and status.
Theme
Diane Lightson mentions taking the "scenic route" versus the highway, foreshadowing the theme: sometimes shortcuts and privilege can lead you into situations where status and money don't matter.
Worldbuilding
Chris meets Diane Lightson at a party and tries to impress her. We see his Manhattan world of wealth and connections. He convinces her to drive to Atlantic City with him and his colleagues. The setup establishes Chris as someone who uses his status to get what he wants.
Disruption
Chris runs a stop sign in the small town of Valkenvania and is immediately pulled over by officer Dennis Valkenheiser. This traffic violation becomes the catalyst that pulls them out of their privileged world.
Resistance
Chris debates whether to cooperate or use his connections. He's taken to meet Judge Alvin Valkenheiser at his bizarre mansion. Chris tries to talk his way out, use charm and status, but realizes normal rules don't apply here. The group is held against their will.
Act II
ConfrontationFirst Threshold
Judge Valkenheiser formally charges Chris with multiple violations and refuses to let them leave. Chris realizes they're truly trapped in this nightmare world where his money and status are worthless. They must now survive by the Judge's insane rules.
Mirror World
Diane emerges as the grounded counterpoint to Chris's privilege. Her practical approach and genuine humanity contrast with Chris's attempts to buy or charm his way out. She represents the values that will be needed to survive.
Premise
The "fun and games" of the bizarre world of Valkenvania: grotesque meals, the monstrous Bobo twins, the deadly roller coaster trap "Mr. Bonestripper," and the Judge's various eccentricities. Chris and team experience the full horror-comedy of this trapped situation.
Midpoint
Chris and his companions witness other lawbreakers being executed by Mr. Bonestripper. What seemed like a bizarre comedy reveals genuine deadly stakes. The realization: they could actually die here. The game is real.
Opposition
The Judge tightens control. Escape attempts fail. Chris's lawyer skills and connections prove useless. The group fractures under pressure. The Judge's granddaughter Eldona becomes obsessed with Chris, adding another layer of threat. Every privilege Chris had means nothing.
Collapse
Chris's colleagues are sentenced to death by Mr. Bonestripper. Chris faces the complete failure of everything he relied on—status, money, charm. His old life and identity are symbolically "killed." He's powerless.
Crisis
Chris hits his lowest point, processing that he can't manipulate or buy his way out. He must find a different approach—one based on genuine human connection and humility rather than privilege.
Act III
ResolutionSecond Threshold
Chris realizes they must work together and use genuine wit rather than status. He learns information about the Judge's vulnerabilities and formulates a real escape plan based on understanding people, not controlling them.
Synthesis
The finale escape sequence. Chris and Diane execute their plan, facing off against the Judge, Dennis, and the various threats. They use cleverness and teamwork rather than privilege. The confrontation with the Valkenheiser family reaches its climax.
Transformation
Chris and Diane escape Valkenvania. Chris is humbled, having learned that privilege and status don't make you invincible. He's formed a genuine connection with Diane based on shared survival rather than superficial charm. He's a changed man.