Pep Squad

Balderson's first effort was obviously a first effort. I must admit that I think the version of this film I saw was a pre-release, being that I saw it sometime in '97 or perhaps earlier. The acting in this film was inconsistent, some scenes being quite believable and others not even close. This is understandable given that this film was most of the cast's first. The plot in this film is not even close to realistic. Again, understandable for the same reasons. When I met Steve and some of the other members of the cast and crew during filming (I used to live in Manhattan, KS, near where it was filmed), they were all genuinely excited about the project, but it was obvious they were not seasoned actors and crew members. I didn't like this film, but must concede that it was a valiant first effort. I look forward to Balderson's next film with Dennis Hopper!

I saw this film at the AFM after seeing the trailer -- which by the way was an equally marvelous piece of work. Most everything works in Pep Squad -- music, cinematography, editing, acting, story. Sure, there are some wooden performances. That comes with low budget indie fare. But it never detracts from the overall flow. In fact, when I think back to my viewings of Carnival of Souls (which I think is another Kansas product) and other films considered cultish, Pep Squad holds up very well, indeed.

Special mention needs to be made of three elements. Brooke Balderson as Cherry is amazing. She not only made what could have been a single dimensional comic book character seem real and multi-dimensional, but she even created a wierd form of sympathy for the character. Betty O., playing the part of the principal who replaces Lester the Molester (yes, this is a strange story) adds just the right amount of zest to the overall mix of characters and story. Finally, the score, by Concrete Blonde frontwoman Johnette Napolitano, was perfect. I saw the film in a theater with full stereo sound and the impact of the music with the imagery was fantastic. I imagine that a lesser sound system would certainly detract from the overall experience. (In fact, I recently saw a screener video of the film and, though good, the TV speakers were really inadequate.)

If you're a Concrete Blonde fan, if you're between 16 and 28, if you ever were in high school and felt like killing the principal (figuratively if not literally), if you are/were ever tired of having to mindlessly just accept what those in power impose --- then you'll have much fun with Pep Squad.

If you like B movies, "Pep Squad" is a B Movie in the best sense of the word. Why it went straight to video is beyond me. It's mix of humour and artistry makes it stand out as the "El Mariachi" of teen flicks.

First time director Steve Balderson has fashioned not only an exceedingly witty script (Fave moment in a film full of fave moments: The cheer Cherry pays the cheerleaders to do), but has an eye for what Brian DePalma called "film as a visual medium". Take the costumes, each character given a very specfic look and tone through wardrobe, take the finale- a breathtakingly clever denoument set to a new wave version of the star spangled banner. Balderson also knows what B fans come to see and has seen fit to throw in the occasional bit of shock violence and gratuitous nudity (though even that is shot with a fair degree of look and purpose).

Special mention must be made of the director's sister, Brooke Balderson who, in the time warped town the film takes place in, is the most warped of all- a teenage Cruella DeVille. She's perfect- snarly, mean and way over the top. Then there's Jane Wiedlin look alike Summer Makovkin...well let's just say she's appealing on a purely personal level.

"Pep Squad" is what would happen if David Lynch, in full "Twin Peaks" mode, decided to make a John Hughes film. I can say nothing more than run out and rent it and let's get this film the cult following it so richly deserves.

Think of an extremely low-rent version of "Heathers," and you've got "Pep Squad." That sums up the flick in a nutshell. I must give credit where credit's due, though. The film has a nice visual appeal to it. I liked the cinematography, I liked the wild color schemes, I liked the costume designs. But without good acting, a film has no redeeming value. I'd rather watch a film with little visual appeal, with good actors and sharp dialogue (i.e.: "The Brothers McMullen" or any Edward Burns film). The actors either recite their dialogue in monotones or scream it out like they're in a bad soap opera. This is why I don't badmouth most mainstream actors. Let's face it, most actors who are mainstream are mainstream for a reason. If they're not "great" actors, they're at least competent. People badmouth Leo DiCaprio, but when was the last time you saw a movie where he recites the dialogue as if he's reading it off the page? It's a shame, because the director seems like he knows his stuff when it comes to mis en scene (sp). At the same time I can't totally praise Steve Balderson (the director). He did write the screenplay, which contains some horrible dialogue. He might be slightly racist too, since there's a black principal in the movie, who inhabits a culmination of African-American stereotypes.

Slick production values and insanely great performances from Brooke Balderson and Amy Kelly elevate this film far above 'b-grade;' but the director also manages to maintain a camp sensibility throughout that's tantalizingly reminiscent of John Waters at his best. This would make an outstanding double-feature with "Female Trouble"!