As a director, he continues to grow. His style has stayed basically the same, yet he still finds new ways to incorporate inventive ideas and social satire into the madcap mix. As a writer, his work has become polished and professional. Gone (well…almost) are the rude rants, the sexually explicit diatribes meant to shock as much as satisfy. In their place is a considered concentration on character, a desire to explore more mature aspects of humor while never quite leaving the confines of filth. Yet perhaps the most amazing thing about Low Budget Productions guru Chris Seaver and his 16 years of independent moviemaking is his consistency. Few if any mainstream auteurs have the track record that he’s developed, from his earliest experiments to his latest - and some may argue, greatest - works of genius.
Never one to rest on his lengthy laurels, 2008 looks like a banner year for this tireless talent. Already, Tempe has released Teenape Goes to Camp, and within the next few months we should be privy to new offerings like The Film Crew, Wet Heat, and the soon to be classic Ski Wolf. And what’s even more astonishing is that Seaver continues to create. A quick trip over to his website indicates the starting dates for two more films, as well as ideas for future projects. Not bad for a 30 year old who struggled in anonymity for years before DVD delivered his insane cinema to a wanting world. Even a change in personal status (he’s married, with a newborn baby) refuses to dampen his filmic fervor.
In this first part of a two day overview, we will look at Seaver’s old school pseudo-swansong, a crazy kiss-off revisit to the LPB universe melding the mindless teen sex romp with a small dose of Richard Connell. Then it’s time to buy a ticket and take the Multiplex ride as a staff of highly skilled theater employees banter back and forth with the forces of evil. Together with the flicks featured in Wednesday’s piece, we’ll realize that something strange is happening to Chris Seaver. He’s leaving his past behind, and is preparing to take on so-called legitimate cinema. From what we see here, he’s got more than enough tenacity - and talent - to spare.
Teenape Goes to Camp
When former associate Heather calls, asking for a favor, our simian lothario is suspicious to say the least. When he finds out the request is for his services as a camp counselor, the mack daddy monkey goes ballistic. Little does he know but this entire summer stay-over set-up is just a ruse. Heather and her associates have the ‘most dangerous game’ prepared for our primate, and not even an obsession with sex can stop them.
It’s weird watching this surreal mix of Meatballs and Surviving the Game, especially in light of where Seaver’s career has been headed lately. To see him shuffle back to outrageous scatology, to rely on body parts and their accompanying functions as a means of making his business funny reeks of an unnecessary regression. Argue all you want about the LPB universe and its cast of kooky characters, but when this director wants to diddle in dirtiness, there is none better. So at least Teenape Goes to Camp offers its fair share of corporeal complements. Between our title character and the ever popular (and horny) Choach, there’s enough blue balling to go around. In fact, Seaver seems to have substantially stepped up his game in the proto-porn and massive mammary department. Some of his newest cast members are carrying cleavage that would make the editors of Juggs jump for joy.
It will be the sudden shift into stalker/slaughter mode that throws many off their game, especially when Father Mushroom from the MST3K classic Jack Frost shows up to offer his sage-like fungal advice. Granted, the moments of revenge are sweet as the gamiest cheek meat, and we want to see these standoffs as part of the overall LPB dynamic. But this is clearly a movie made for fans who just can’t get enough of the entire goofball gimmick. Fortunately, the film offers enough glad-handed good-timing to warrant attention. As a matter of fact, had he not made the next three movies under discussion, this would be one of his crowning achievements. Yet what happens to Teenape Goes to Camp is what tends to occur with all midcareer capers. There’s an undeniable sense of greatness here. There is also a tendency to view things via a “been there, done that” set of revisionist glasses. If you love Seaver and LBP, you’ll dig this fun flick. But be prepared - the next cinematic leap is a dozy.
The Film Crew
The employees at the local chain theater are a little wary of management’s new hire. His name is Caspian, and he seems unusually preoccupied with death, dismemberment, and retribution. As they go about their business, being rude to the customers and inappropriate with each other, something sinister starts to happen. One by one, the crew starts disappearing…and the new guy seems to be behind the vanishings.
Let’s get the lovefest out of the way right up front - The Film Crew is fantastic. It is by far one of the best, most inventive, and most consistently clever film Seaver has ever helmed. Not only does it prove that he can exist outside the strictures of the Low Budget Pictures universe, but it indicates a level of pop culture intuition that’s simply dead on. Attaching the at one time tired slasher dynamic to what is basically a stellar sitcom waiting to be discovered, we are treated to riffs on Jeremy Statham, American Idol, and geek cinema obsession. The scripting literally shimmers at times, reflecting one man’s undeniable ability to channel his entire catalog of fandom into a witty exchange of hilarious horndog hollabacks and genre homages. No one knows the horror comedy better, and when Seaver is on - as he is here - the results are electric. Indeed, one gets depressed at how the film ends, since it seems to indicate a sequel is next to impossible.
And another thing - Seaver has really solidified the work with his actors. The cast is incredible, delivering dead on parodies of slackers, dreamers, angst-ridden rejects, and ‘bumble-clot’ Rastafarians. The cartoonish quality they bring to each line reading really amplifies Seaver’s sensibility, and they end up endearing themselves to us with a juvenile gesture or a natty non-sequitor. Not everything here is anarchy - the plot percolates along on whiffs of Prom Night and the essence of the venerable Voorhees. Even better, the splatter is kept under control, not allowed to overwhelm what is an excellent mainstream effort. Like his lost masterpiece The Karaoke Kid, Seaver continues to prove he can work well outside the confines of Bonejack, Teenape, and the entire Heather and Puggly domain. All he needs is someone to give him the chance. The Film Crew may just be his ticket to wider mainstream acceptance.
Tomorrow - we check in with another Teenape adventure, and witness the rebirth of Chris Seaver as a legitimate independent icon with his amazing ‘80s homage, Ski Wolf.
// Notes from the Road
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