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USA 1999
Reviewed by Danny Leigh
Our synopses give away the plot in full, including surprise twists.
Cherry Falls, Virginia. A woman, her face concealed, kills a pair of adolescent sweethearts. When Sheriff Brent Marken discovers them, each has the word "virgin" carved into their bodies. At school the next day, the students are in uproar, despite the calming words of teacher Leonard Marliston, to whom Marken's martial-arts enthusiast daughter Jody has formed a strong attachment. That evening, another girl is murdered, again with "virgin" carved on her body. Marken calls a parents' meeting; Jody and her friend Timmy sneak in and overhear mention of the link between the murders. The killer appears in a hallway. Jody hides, then finds Timmy's corpse, marked as a virgin.
The following day, the students discover the killer is targeting virgins; they plan a party to lose their virginities. Jody hears principal Tom Sisler referring to the killer as Linda Lee Sherman, a student who left town 25 years ago. Quizzing her mother, she learns Sherman was the victim of a rape in which both Sisler and her father participated. Sisler is found dead, "virgin not" etched into his forehead. Jody visits her ex-boyfriend Kenny aiming to lose her virginity. They argue: he leaves for the party, she to Marliston's house. Marliston reveals himself to be both Sherman's son and the killer; Sheriff Marken is already dead in his basement. Jody escapes to the party, but Marliston, in full drag, chases her with an axe. Jody executes a martial-arts move which sends Marliston plunging through a banister to his death.
With the recent box-office success of Keenen Ivory Wayans' Scary Movie, an unsubtle spoof of the already parodic Scream series, one might assume the conventions of the slasher flick had finally been lampooned into redundancy. Not so: while director Geoffrey Wright evidently aspires to greater things than mere generic bloodletting (the title hints at his penchant for the small-town intrigue of Twin Peaks), Cherry Falls remains hidebound by a deep-seated lack of imagination. Granted, the inversion of the form's traditionally prudish value system (here, the homicidal maniac targets high-school students still burdened by chastity) provides a novel conceptual twist; but whether this device justifies the morass of clichés surrounding it remains moot.
While Cherry Falls' spin on sexual politics and occasional moments of Twin Peaks-like deadpan appear designed to distance it from the mediocrity of the herd, the film also resorts to tiresomely hackneyed stock motifs. As with so many teen horror flicks, there are the usual scenes of ruckuses in the school cafeteria and a stream of glutinous one-liners ("She thinks fellatio is a character in Shakespeare" remarks one student of another). Admittedly, we're spared the feverish intertextuality of Scream creator Kevin Williamson's films; all the same, by the time the film's killer begins inviting guileless teens into the basement, you can't help feeling that the film is guided by the same mealy-mouthed logic behind Scream - offering the audience thumpingly obvious material, but winking at them in the hope that such a knowing approach makes it all OK.
Still, there are straws to clutch at. Even when dealing in the most banal of set-pieces, Wright - making a belated US debut eight years after his Australian melodrama Romper Stomper - directs with a certain brash vibrancy, while the Bacchanalian excess of the climactic party sequence oozes a strange, dingy authenticity. Equally screenwriter Ken Selden's premise - in which teenagers risk their lives by holding on to their virginity - does produce the odd impressively arch moment: coming from a culture in which the pro-virginity organisation True Love Waits holds sway over large numbers of American pubescents, there has to be some ironic value to an anxious father grilling his daughter over her status "base-wise", only to shudder in fear when she tells him she's yet to go all the way.
Meanwhile, amid a slew of barely competent performances, Brittany Murphy's heroine lends the enterprise an endearing sheen. After witnessing Murphy steal scene after scene in Clueless and Drop Dead Gorgeous, it's a pleasure to see her in any kind of leading role: next time, you just hope she chooses a less enervated genre for her showcase.