DIRECTED BY: Arie Posin
FEATURING: Jamie Bell, Camilla Belle, Justin Chatwin, , Glenn Close, Allison Janney, William Fitchner
PLOT: In a wealthy California suburb, disaffected teen Dean finds himself snared in an amateur blackmail and kidnapping plot after his only friend, a drug supplier, hangs himself and local high school dealers assume Dean knows the location of the stash.
WHY IT WON’T MAKE THE LIST: The movie is indeed weird—partly by design, and (I suspect) partially by accident—but doesn’t benefit by it. It’s worth a look as a curiosity, but doesn’t rise to a Listable level.
COMMENTS: The Chumscrubber is exactly what the title says it is. What, you don’t know what a “chumscrubber” is? That’s OK, neither does the movie. Well, that’s not 100% true. In fact, the “chumscrubber” is a decapitated character from an apocalyptic teen video game—presumably one that scrubs chum when offscreen. But what’s it doing in this movie? What it supposed to symbolize? And why it was deemed a significant enough entity to name the movie after despite getting only a few minutes of screen time? Only the writer knows the answer for sure.
The scattershot script has a lot of problems. For example, what would you do if a group of bullies whom you hated, who had no leverage over you whatsoever, tried to blackmail you into committing a crime? If you said “either ignore them or report them to the police,” congratulations: you just ended the movie early. If you said “go along with their incriminating scheme, obviously,” then you may be target audience for The Chumscrubber. Besides the implausibility of that central plot point, other, more promising gambits, like dueling wedding/memorial parties scheduled for the same day and the surreptitious introduction of ecstasy into a casserole, promise wacky hijinks to come, then fizzle out when they arrive.
Yet, with all it’s issues, The Chumscrubber isn’t a terrible movie experience. The suburban satirical targets may be too obvious, but the you-never-know-what’s-going-to-happen-next plot is refreshing, even fun. The movie has a lot going on to keep your mind occupied: Dean’s troubled teen travails, drug abuse (both recreational and prescription), bullying, kidnapping, a hallucinating hero, bad video game CGI, a misguided romantic subplot, and an entire bonus movie shoehorned in about mild-mannered mayor Ralph Fiennes, who is either going crazy or is the victim of an identity shift. The fine cast does their best in individual scenes that work better than the whole, and the auteurial ambition shines through. Embodying passive-aggressive grief-engendered dementia, Glenn Close is ace, as always. She understands that this material only really works as a black comedy, and seems to be acting in a different (and better) movie. Allison Janney, as Dean’s mom, plays against Close well, allowing herself to be guilt-tripped and becoming one of the few three-dimensional characters. Lead Jamie Bell, a poor man’s Jesse Eisenberg, also puts in quality work. The other veterans in the cast do their best, fighting characterizations that don’t have much depth or sense to them (Fiennes seems particularly bewildered and unsure how to handle his bizarre role).
It’s not surprising that Arie Posin (almost) never worked in movies again. But it’s pretty amazing that he was able to make this meandering, would-be cult movie—with A- list talent, to boot.
WHAT THE CRITICS SAY:
(This movie was nominated for review by “Tzith.” Suggest a weird movie of your own here.)