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A new low in teen comedy

Review: 'Slackers' gets a big, fat 'F'



By Paul Tatara
CNN Reviewer

(CNN) -- "Slackers" is exactly the same teen comedy you've seen 50 or 100 times before, with various idiotic young adults passing gas, urinating, drinking, masturbating and trying desperately to have sex with the "hot girl."

But it's unique in one way: director Dewey Nicks' narrative incompetence.

The footage seems to have been tossed into the air and randomly reassembled when it hit the ground. And although the script contains moments of intentional surrealism, the most peculiar thing about "Slackers" is that it was released for public consumption.

Dave (Devon Sawa), Sam (Jason Segel), and Jeff (Michael C. Maronna) are best buddies who've done everything in their power to avoid getting a college education while attending a major university.

The first 15 minutes of the picture are devoted to Dave explaining the "clever" way that he and his friends cheat on a final exam. This sequence could have been handled in a 90-second montage, but you get the feeling that Nicks has to drag things out just to come up with enough footage to construct the semblance of a motion picture. You can't, after all, distribute a 20-minute movie.

Creepy characters

During the tainted exam, Dave notices a beautiful young coed named Angela (former model James King). He writes his phone number on his test paper and whispers to Angela that she should call him some time, which draws the ire of "Cool Ethan" (Jason Schwartzman), a psychotic undergrad who badly wants Angela for himself.

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Ethan is so far gone that he's built a shrine to Angela in his living room. He burns candles in front of assorted pictures of her, services himself while holding a doll he's made out of errant strands of her hair and watches secretly shot video footage of her strolling around campus.

Ethan's obsession is, of course, played for laughs.

His systematic stalking of the only female character who acts like a real human being unintentionally crosses over into outright ugliness, especially since Schwartzman seems more mean-spirited than comically immature. Imagine Max Fischer, the manipulative malcontent Schwartzman played in Wes Anderson's often brilliant "Rushmore," minus any redeeming heart. It's not enough to see Ethan humiliated for his inappropriate mania. He should be punched in the mouth and carted off to jail.

Indecent exposures

Ethan eventually blackmails Dave into helping him land Angela. Sam and Jeff are also implicated in his scheme, so now the Three Musketeers have to use their supposed wiliness to put Angela into what promises to be a very dangerous situation, even though Dave is in love with her.

The rest of the film consists of King being manipulated by just about everyone in the picture, with occasional forays into more self-abuse, oral sex and drinking. Gina Gershon and Cameron Diaz inexplicably make blink-and-you'll-miss-them cameo appearances. And Mamie Van Doren, the 71-year-old former Hollywood pinup, is also on hand to expose her enormous chest while receiving a sponge bath from Schwartzman. Don't bother blinking for that one; just close your eyes.

After a while, you feel bad for the cast members, many of whom have done decent work in other places. Laura Prepon, playing King's horny roommate, Reanna, is always enjoyable on "That '70s Show." King, although it's difficult to watch her try to cry, is so pleasantly demure that she even managed to rise above the bombast of "Pearl Harbor." And Segel, a real actor, was often close to fantastic as a socially awkward high-schooler on NBC's late, greatly lamented comedy, "Freaks and Geeks."

Schwartzman is who you have to worry about. If this is the best role he could land after "Rushmore," it may be time to rethink his comic persona, or at the very least, to tone it down until it's more palatable. No one should be forced to play "the hyperactive creepy guy" every time out of the gate, especially in such irredeemable rubbish.

If you just read the review, you already know what kids don't need to see in "Slackers." The closest this thing comes to real satire is when The Who's "Baba O'Riley" (as in "teen-age wasteland") is performed by an orchestra over the opening credits.



 
 
 
 



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