S.F.W.

Way, way ahead of it's time (similarly themed films made years after were Natural Born Killers, Mad City, Truman Show), this is, quite simply, a life-altering, mind-altering film which zeroes in on and then embodies the zeitgeist of the nineties. See this film, take a look at the world surround you (especially western popular culture), and think about it. It's also pretty f***in' funny.

If not its certainly a contender. If anything you could look at the rest of his career and consider he has been searching for ways to recreate this character ever since.

Its a pretty cool movie that along with Natural Born Killers was a high profile examination of, at the time, media practices (NBK in a much more extreme way) and the creation of celebrity (regardless of talent or in spite of it).

Its sassy, funny and for sure entertaining :)

S.F.W.

Aspect ratio: 1.85:1

Sound format: Dolby Stereo

A feckless young man (Stephen Dorff) becomes an unlikely celebrity after surviving a televised hostage ordeal in his local convenience store, but he's unable to reconcile the tragedy of the siege - in which his best friend (Jack Noseworthy) was killed - with the exaggerated version of events peddled by a ratings-hungry media.

Jefery Levy's cult-movie wannabe pairs Dorff alongside relative newcomer Reese Witherspoon in a vicious assault on the contemporary media, depicted here as a soulless entity concerned solely with ratings and money (yeah, so what else is new?). The message is obvious, but Levy and co-scriptwriter Danny Rubin (GROUNDHOG DAY) revel in their own daring: Dorff and Witherspoon play ordinary characters who emerge from an extraordinary situation and are forced to confront their unexpected (and unwanted) fame. However, Levy's unflattering view of modern journalism (symbolized by John Roarke as a variety of thinly-disguised real-life TV celebrities who feed off other people's misery, and Gary Coleman in a fleeting, self-deprecating cameo) seems a little distorted and misleading, though clearly filtered through the lead character's personal viewpoint. Dorff himself is terrific, as always, playing a charismatic and foul-mouthed Everyman, scornful of the manner in which his personal misfortune has been manipulated to feed the expectations of a mindless, sensation-hungry audience. But there are moments when the screeching soundtrack fades abruptly to silence and Levy concentrates on Dorff's haunted face as he recalls key events - good and bad - from the siege, and the friendships that were forged and destroyed under extreme duress. The movie doesn't say anything new, but the execution is invigorating.

Look out for an early appearance by Tobey Maguire as a young stoner who thinks he's died and gone to heaven when he and his buddy (Dana Allan Young) encounter their idol Dorff on an empty street (a truly hilarious sequence). Steve Antin cameos as a news reporter named after his character in the equally odd INSIDE MONKEY ZETTERLAND, helmed by Levy in 1992.

The plot is cliched. In fact I could have sworn I have seen it many many times before. It is almost "Mad City" except it is better. It is the story of a hostage who has been aired for 36 straight days and has become a celebrity. His most famous quote is S.F.W. or So F***ing What. The worst thing that I could see about the movie was its language, and if the bleeps were not there on the parts that were supposed to be on television, I would swear that this had the most F-words and any other swearing than even Goodfellas. But, it did not bother me.

This movie stresses me, and it should. It is about what the media was when the movie came out. Instead of the mind-controlling media that it is currently, see "Mad City," it used to be fickle, and still is a little, and change with the public. One day the media could hate the pres and the next it could love him for the same action. This is instead of trying to force everybody to hate the pres.

The movie is a little confusing because of the editing. It starts with day 36 of the crisis, and then moves forward. We only see the crisis in flashbacks. You never learn what the terrorists are about, and it does not really matter. What does matter is that they held Spab and Wendy hostage for 36 days and aired every minute on TV.

This is pure Gen-X stuff. But, it is good for everybody else if you can get past the language. It actually has something to say about society and how everybody is sheep. They all follow everybody else without knowing why. They change at the drop of a hat. And they all want a piece of the leader.

This is not really a comedy, and not really an action or drama. It is non-conformist which is good. Watch this movie, and you will automatically mull it over. Then, watch it again. You won't see everything the first time around. This is a high-rate film, but a it has low points. 8/10

It's another movie about an Everyman who is thrust into the eye of instant pop fame by being a hostage in a nationally televised incident. First he enjoys the superficiality of the fame, then.....

In other words, it's mostly like a dozen other films that address this theme, just a little differently. This one's a little more deft at dishing out the satire and irony, despite rocking hard those product placements that films relied on in the 90s, in this case, heineken, which we see too many times to count. Since it was an new emerging director at the time, there's a lot of emphasis on attempts to produce fresh, thoughtful imagery. It's a commentary on the meaninglessness of popular reality tv, which was new then, albeit in the mid-1990s. It's hard to remember in 2021 how new we were to instant-reality-tv fame, and when, despite our addiction to it, we also still seemed to know how tasteless it was, before it became part of our ever-present background via social media. A little of EdTV meets Natural Born Killers, with a pretty and then-promising young Stephen Dorff, and a pretty and cute-as-a-button young Reese Witherspoon.

Kudos for not being afraid to show lower middle-class white Southern California the way it really was and is, without all the California/Los Angeles/Beach cliches that audiences lazily expect. Also kudos for showing the character of Spab as a real life character that he probably should be -- aimless, ambitionless, talentless, but redeemed by innate charisma, gift for gab, and good looks.

This is one of Dorff's better dramatic roles. Witherspoon, on the other hand, was not given much to work with, beyond being the "co-star." Busey, as usual for both he and his father, stole every scene he was in, which wasn't many.