Mason-4

The advance reviews of writer & director Andy Anderson's Detention prepared me for a '90s version of To Sir with Love, and indeed, the first part of this film is along that line, except that now we have not only uncontrollable kids but an adminstration that has lost the will and the power to do anything about them. The teachers are bound by political correctness, a starvation budget, fear of lawsuits, and a thousand other plagues on the education system. Even Sidney Poitier would be helpless were he bound this tightly by a legal system gone mad.

I kept waiting for Bill Walmsley, the hero teacher of this movie, confidently played by John Davies, to work the Stand and Deliver miracle, but it doesn't come, and the movie slows, when suddenly Walmsley tries an approach that rips the conventions right out from under this movie. No, this isn't To Sir with Love or Stand and Deliver or even The Dead Poets Society. Yet in one fell swoop, the movie becomes darkly funny while raising some serious questions about how difficult public education is in a world run by lawyers. It's a sure sign of how crazy the education system has become when the craziest arguments for reform make the most sense I've heard in years.

David Carradine (yes, the Kung Fu Carradine) plays a major role in this film, and, while he brings considerable talent to the cast -- perhaps the only talent -- much of the time he looks like an actor desperately seeking direction. I feel a little sorry for him. Carradine plays a maverick FBI agent who has gone a little haywire from brushing up against the madness of his serial killer quarry. He stays in a motel room lined with pages torn from a Bible -- a reference to The Omen in which a priest, driven mad by his quest for to confront and battle the Ultimate Evil, lives in a Bible page-lined cell. Carradine's delusional special agent sees his quarry going into a horrifically fast seizures, much like the terrifying spasms of the figures haunting the protagonist in Jacob's Ladder. There are, perhaps, hints of Pulp Fiction here and there as well. Yet these allusions are not enough to save the film -- if anything, they seem to be adolescent expressions of adulation rather than homage to the filmmaker's influences.