By Alan Scherstuhl
By Charles Taylor
By Melissa Anderson
By Inkoo Kang
By Amy Nicholson
By Sam Weisberg
By Stephanie Zacharek
By Chuck Wilson
Trey Parker's low-budget Orgazmo, is a fish-out-of-water comedy that basically reverses Ross's scenario to make the same point. A pair of innocent Mormons, Joe Young (Parker) and his fiancée (Robyn Lynn Raab), leave their black-and-white Utah for the lurid Technicolor of L.A.'s Unpleasantville.
As mighty as the Hollywood monkey for whom he is named, Young finds himself playing the title role in a superhero porn flick called Orgazmo. (Don't ask how he agrees; suffice to say, he preserves his chastity with the use of a "stunt cock.") Gary Ross may be girding his loins to fight the cultural wars, but Parker, co- perpetrator of last season's school-yard sensation South Park, has no such agenda. Like a '60s hippie, he's chosen to declare the war over and live as though the day were here.
A ridiculous soft-core kung-fu porn film about a ridiculous hard-core one, Orgazmois the kind of movie that improves according to the lateness of the hour. The narrative structure suggests a sort of low-rent, nonmusical Rocky Horror Picture Showwith Frank N. Furter played by a tediously sleazy porn producer (Michael Dean Orbison). Targeted at a somewhat older demographic, Orgazmois less relentlessly scatological than South Park--which broke new ground in entertainment as the first cartoon series to feature a dancing turd. It's also marginally more concerned with sex, although, as Parker proudly told one interviewer, the hairy butts regularly presented to the camera are the "only nudity you see."
Written and directed by Trey Parker
An October Films release
Less funny than it might have been--despite the perpetual sight gag of Orgazmo's sidekick Choda-Boy (Dian Bachar) wandering around in costume with willowy dildo planted on his head--Orgazmo was made at the same time as Boogie Nights and, masticating similar material (stunt cock, "happy ending," and all) succeeds as a travesty avant la lettre. So was the movie branded with an NC-17, rather than Boogie Nights's R, because of the repeated Mormon references to their "Heavenly Father"? It's a question to take up with those good folks in Pleasantville.
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