Set in the swampy background of Southern Florida where different species of wildlife often unexpectedly and violently turn on each other, Columbia Pictures' latest release, "Wild Things," features similarly tempered creatures, but of the human variety. Filled with enough twists, turns and double-crosses for several movies, this feature should please moviegoers who want to be left continually guessing "whodunit" and wondering how the final events will unfold right up until the end credits roll.
While that sounds like a "wild" time, not everything that occurs is completely unpredictable. The initial twists and turns -- that signal the beginnings of the ever evolving plot and that occur during a pivotal court case scene -- might catch some viewers by surprise. Seasoned audiences, however, will probably sense those initial twists not far from the start, but after that, it's anyone's guess about what new wrinkles the filmmakers will throw in to stir things up. Once the sixth or seventh (and then more) revelation is unfurled, you simply won't be able to predict where they'll eventually stop the shenanigans.
Unfortunately, the sheer number of plots twists and double-crosses soon begins to dampen their momentary -- as well as collective -- impact on the audience. It's not that the ensuing moments aren't interesting -- in fact they somewhat turn the movie into a guessing game about which character will be the final perpetrator. It's just that the guessing lessens their impact and the overall number simply prevents any of them from individually being that shocking.
Don't leave when the credits begin, however, as several "tack on" segments actually wrap up (ie. explain) everything that preceded them. While that's an interesting and certainly welcomed plot device (since we finally learn the truth about some events that become confusing in a near ludicrous way as more twists were thrown onto the growing pile), it also comes off as something of a cheap way out of the story.
Essentially a modified deus ex machina (a plot device from ancient Greek and Roman Theater where a god suddenly descended from the heavens to resolve and/or explain the story), these interjected scenes make it seem as if writer Stephen Peters and director John McNaughton ("Henry: Portrait Of A Serial Killer") couldn't sufficiently explain and conclude everything in the main body of the movie. It's similar to the old TV and movie mysteries where one character would explain everything that occurred (including character motivations) to the rest of the characters, and consequently the audience as well, in the last-minute conclusion that's punctuated by flashbacks to the pivotal scenes. Even so, they do finally explain some events and actions that seemed ridiculous as they occurred, and thus erase one's initial notions that the film was getting sloppy.
The performances from the leads are all decent and certainly don't give away any of the plot secrets early on as the actors all play rather stereotypical parts. Dillon ("In And Out," "Drugstore Cowboy") plays the impoverished lothario whose handsome good looks draw in the ladies of all ages, although he professionally tries to avoid romantic contacts with his students -- or so we're led to think. Bacon ("Picture Perfect," "Apollo 13") plays the characteristically determined cop who smells a conspiracy and continuously pursues it even when everyone around him doubts his beliefs. Although his is probably the weakest of the major roles, Bacon is good in it.
On the fairer side of the genders, we have Denise Richards ("Starship Troopers") as the stereotypically spoiled rich girl with a curvaceous body that she uses to her decidedly great advantage. Finally, there's Neve Campbell (TV's "Party of Five" and the "Scream" movies) who convincingly plays the rebellious and troubled girl from the "wrong side of the tracks." After things get rolling and the twists begin sprouting, however, the characters meld into a blur as one begins to never quite be sure of anyone's true motivations.
The supporting performances vary from Daphne Rubin-Vega's (in her screen debut) competent take as Bacon's partner, to Robert Wagner's (TV's "Hart To Hart") outrageously bad performance as the wealthy family's personal attorney. Seeing him here not only makes one think that his character "Number Two" from "Austin Powers: International Man Of Mystery" survived and moved to southern Florida, but his and another actor's appearance nearly -- but momentarily -- turn the movie into a comedy.
That other actor is Bill Murray who gives a brief, but fabulous turn as a disheveled, low-end attorney better known for his ambulance chasing (brilliantly displayed by his wall-to-wall collection of client pictures that feature a bevy of cast and neck-brace equipped injury victims). Dressed in a wrinkled, light-blue suit and announcing to his assistant on the office intercom not to disturb him -- although the office is empty and she's less than ten feet away -- Murray is a hoot playing a legal defender (talk about going against type!). After some brief, funny moments, however, his character disappears and we return to the ever-growing list of more twists and turns.
Beyond all of those swirling plot elements -- which must have had McNaughton and Peters using a flow chart to diagram the twisted progression -- the film is also noted for its steamy scenes. Playing to what appears to be the stereotypical and collective male fantasy, there's a three-way sex scene (Dillon with Campbell and Richards), and some lesbian implications and brief scenes. We're also "treated" to lots of close-up images of seductive young ladies including the obligatory car washing scene where Richards ends up in soaking wet clothing that clings to her shapely body.
Conversely, the film offers a rare cinematic sight as Bacon provides the audience with "The Full Monty" (full frontal nudity -- unlike the film of the same title that only teased the audience). Although the scene is essentially unnecessary (although it makes one wonder if another twist is going to follow it), it almost seems as if it's making amends for all of the lusty shots of Campbell, Richards and the other shapely and often skimpily dressed women.
Even so, it's the many twists and turns that will have people talking about this film. It certainly succeeds in delivering more than its quota, and George S. Clinton's rhythmic and noir-like soundtrack accentuates the sultry, murder/mystery aura that permeates the film. Although I was initially lukewarm about this feature due to the overabundance of those twists and turns, and what appeared at the time to be plot problems and unbelievable character actions -- all of which are rectified in the closing credits -- the more time that has passed and the more that I've thought about the film, the better I've found myself liking it.
For those who don't like films such as "Basic Instinct" (another sexy, twist-filled thriller) this probably isn't a good movie for you. For others, however, who don't mind a decidedly adult thriller that presents a "fun" game of whodunit that will keep you guessing until the theaters lights come back up, you might just get a kick out of this film. We give "Wild Things" a 7 out of 10.
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