ANGUS
A film review by James Berardinelli
Copyright 1995 James Berardinelli
RATING (0 TO 10): 6.1
United States, 1995 U.S. Availability: 9/15/95 (wide) Running Length: 1:30 MPAA Classification: PG-13 (Profanity) Theatrical Aspect Ratio: 1.85:1
Cast: Charlie Talbert, George C. Scott, Kathy Bates, Chris Own, James Van Der Beek, Ariana Richards Director: Patrick Read Johnson Producer: Dawn Steel and Charles Roven Screenplay: Jill Gordon based on a short story by Chris Crutcher Cinematography: Alexander Gruszynski Music: David Russo U.S. Distributor: New Line Cinema
Coming-of-age movies generally fall into one of two categories: fresh, honest stories that transcend formulas or "safe" tales that embrace them. Despite fitting perfectly into the latter camp, ANGUS nevertheless works--at least to some degree. It is neither surprising nor original, but moments of genuine joy and poignancy, coupled with some solidly-developed characters, make ANGUS a better film than the storyline suggests. Unfortunately, a poor conclusion blunts many of the picture's better elements.
An intelligent high school freshman with an aptitude for chemistry and some ability on a football offensive line, Angus Bethune (Charlie Talbert) is far from the golden boy of the class. That's because, regardless of his good-natured and self-deprecating personality, all his fellow schoolmates see is an overweight teen who sweats a lot and cares little for his appearance. It's a story that's played out everywhere in this world, both for children and adults--those who don't conform are ostracized, and the resulting pain can be a difficult burden to bear.
Angus has only one real friend, Troy (Chris Owen), who is as much a misfit as his larger companion. However, while Angus is fat, Troy is short and skinny, with a face that resembles Howdy Doody's. At home, Angus' "support system" includes a loving truck driver mother (Kathy Bates) and a liberal-minded, free-speaking grandfather (George C. Scott) who's engaged to a woman forty years his junior.
Angus' nemesis is quarterback and class president Rick Sanford (James Van Der Beek), a nasty-minded individual who will go to any lengths to embarrass and degrade the science whiz. To that end, Rick arranges for Angus to be voted king of the freshman Winter Ball. The queen, who the king is supposed to dance with, is Rick's beautiful, ultra-popular girlfriend, Melissa Lefevre (Ariana Richards, of JURASSIC PARK), upon whom Angus has secretly had a crush for years.
ANGUS is never subtle, but for the first seventy-five minutes, it gets the point across with style, humor, and an occasional bittersweet moment. The predictability isn't much of a drawback since the characters--particularly Talbert's title personae--are essayed with great sympathy. At some point in life, every teenager has to come to grips with who he or she is and what they wish they could be. Angus' dilemma is that he wants to be normal, but can't. He's socially inept, has two left feet, and is too nervous to talk to girls. He's even frightened to take his grandfather's advice to "Screw [everyone]! Who cares what anybody thinks?" As portrayed through most of this film, Angus is a believably insecure young man who is routinely picked on while trying to find the courage to persevere.
George C. Scott hasn't had a memorable role since he donned Patton's four-star helmet and ivory-handled revolver in 1970. And, while ANGUS certainly isn't classic Scott, the veteran's repartee with newcomer Talbert is as well delivered as it is intelligently written. Kathy Bates is woefully underused in a role that gives her almost no screen time. The kids all do solid jobs, except James Van Der Beek, who is too sneeringly nasty.
All of us have been the butt of a joke at one point or another, so it's not hard to empathize with Angus' situation. Director Patrick Read Johnson and his young actor effectively convey the awkward moments of being an out-of-place adolescent. For that reason, adults may find enough in this movie to keep them as involved as the younger generation (the movie seems aimed at the eleven-to-fourteen year old group). Unfortunately, ANGUS is determined to have a grand, over-the-top ending that makes the finale of SCENT OF A WOMAN look restrained. How's that for cornball??
So, in going for mass crowd appeal, Johnson damages his film. The watershed moment is too obvious, and no stone is left unturned in the attempt to get the audience up and clapping. However, as is often the case when a movie tries this hard, it destroys the illusion of the story and we become uncomfortably aware that we're watching something scripted and acted. On the whole, ANGUS has its own kind of low-key magic, but the enchantment is rudely dispelled by the ill-advised final act.
- James Berardinelli (jberardinell@delphi.com)
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