Title: Detention
Director: Joseph Kahn
Released: 2011
Starring: Josh Hutcherson, Dane Cook, Spencer Locke, Shanley
Caswell, Walter Perez, Organik, Erica Shaffer
Plot: A killer dressed as the movie slasher Cinderhella is
stalking the students of Grizzly Lake High School, leaving a group of co-eds to
band together survive while serving detention.
Review: So once again I have found a film which makes me
throw my hands up in despair, as I wonder how I can ever start to review it as
if I thought “If…” was a tough film to critique, this one presented an equally
daunting critical mountain to scale by the time the credits had rolled.
Unlike the aforementioned “If…” the issues presented by this
film was less about the artistic directing choices, but more due to trying to figure out
what it was exactly that I had watched, as director Kahn comes off here like
someone has a heap of smart and witty things to say and show you, while at the
same time too easily distracted to put them into any kind of logical order. As a result
this film is the same sort of visual assault of ideas that “Southland Tales”
took, yet in comparison even that film is more coherent than this one and yet despite the fact I’m still
not sure I fully understood what this film was about I did strangely still
enjoyed it.
The second feature film by Kahn after his forgettable debut
and “Fast and Furious” on a motorcycle cash in “Torque”, he is no doubt better
known for his work directing music videos and commercials, a field which has
previously given us visionary directors like David Fincher and Mark Romanek, with Kahn
also bringing a level of visual flair to this low budget and self-financed horror-comedy which he
choose to follow “Torque” with after being replaced by Vincenzo Natali (best
known for “Splice” and “Cube”) as the director of the long mooted adaptation of
William Gibson’s “Neuromancer”.
Opening with a “Clueless” style monologue / rant by the
school’s most popular girl Taylor (woods)…well that is until she is suddenly cut short
mid “guide to not being a total reject” by the films killer. From here we cut
to Taylor’s opposite Riley (Caswell) a cynical social outcast, whose sees
herself being only one place above rock bottom which is currently occupied by
the girl who performed oral sex on the school’s stuffed grizzly bear mascot.
Riley’s world is shown as an endless hailstorm of crap, as starts the day with
a half-baked attempt at a pill overdose, misses the school bus and has her iPod
stolen by a hipster mugger. Both of these scenes are peppered with the
characters breaking the forth wall and laced with sarcasm and acid tipped barbs
while generally setting you up for the randomness which follows.
It is after the opening monologues that things not only just weird but
downright random as plot devices start to fly off on a whim, with fewer still
actually being seen though to any form of completion let alone followed with
any kind of logical sense. So while the film would have worked fine as high
school slasher with elements of social satire, Kahn feels inclined to cram in
additional elements and subplots including alien abduction, mutations and time
travel none of which are properly worked into the plot and frequently dropped
in at random and more often without warning, leaving the viewer disorientated and
frequently struggling to keep up with the amount of elements being juggled at
any one time.
Still when taken apart and viewed for its individual parts
there is a lot of fun elements at throughout the film, like the 90’s obsessed
Lone (Locke), the star football player who for some reason is turning into a
human fly (a very unsubtle rip off of Cronenberg’s 1986 remake) and whose
father made him wear a TV over his hand as a child in a scene every bit as
surreal as it no doubt sounds. It only makes it more of a shame that with so
many random ideas on show here that Kahn can’t seem to manage the same delicate
balance of surreal imagery and coherent storytelling that the likes of Richard
Kelly and Greg Araki have frequently brought to their films and seemingly what
Kahn was aiming to achieve here, only to ultimately end up with a frequently
confusing but none the less fascinating car crash of ideas.
The cast assembled here are all pretty much unknowns, yet
bring plenty of energy to the film, especially in the case of Caswell who as
Riley is well deserving of a spin off, if perhaps a more focused one, as she
makes for the perfect lead with her balance of sarcastic jibes and general
despair at having to endure with being berated on a daily basis by the so
called popular kids. Elsewhere the rest of the cast play their roles well,
though frequently come off more memorable for their character mannerisms than
for their performances.
Judging by how under the radar this film is, with the only
noteworthy releases before it’s DVD release being the handful of appearances at
various film festivals with its showing at Frightfest being how I came to
discover it originally were its highlighted genre hopping antics caught my
attention. So now having finally got around to watching it I can testify that
it is certainly one of the more unique films I have watched of late, while its
heavy flaws prevent me from enjoying it more and yet I still feel compelled to
recommend you give it a curious watch, if only to experience it for yourself. So
if you’re feeling uninspired by your current viewing and craving something different
yet not too out there, why not give this a watch.
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