fedor8 A mediocrity from the master of garbage, John Waters. So in a sense Waters has surpassed himself with this movie: a mediocrity is still better than garbage. The film profits only from a very good female cast, mostly Ricci and Kay Place. The movie has all the signatures of a Waters film: very bad amateur actors in small roles, lousy and childish dialogues, and social satire which is far too obvious and unintelligent to have any kind of impact, comic or otherwise. Waters is always out to mock the silent majority, which is an easy target, and he does it, I believe, because of a frustration of knowing that the silent majority could never accept an untalented freak such as himself. He does make fun of the bogus NY art world, though, which is a good thing – but I'd rather have someone talented do that.

jimmyjack342000 This may very well be the worst movie I'll see if I live to be 100. I think a group of first-graders could have come up with better plot lines as a class project than this. I'm dumber for having watched it, and God have mercy on the souls who were paid to produce this film.And after I finally turned it off, I actually had the urge to vomit.No one had a clue about photography when made this. No one had a clue about acting. No one had a clue about just about anything.I can't believe F/X shows this crap on occasion. The only time I had seen it was on one of the Starz! channels - not even the main one. And it was on at about 3 a.m. at that.

The_Void 'Pecker' is one of those films that you watch when you've got nothing better to do. However, unlike many of those films, Pecker is one that almost makes you glad that you had nothing better to do as if you had, you wouldn't have seen it. Don't get me wrong, I'd rather have been at lottery HQ collecting my winnings, on the phone to a representative from my local pub telling me that I've won free beer for life or even simply enjoying a night in with several top supermodels; but on the whole, I rate the eighty five minutes I spent watching this as time well spent. The film is called 'Pecker' because that's the name of it's central character, but something tells me that Mr John Waters named the film so for other, more innuendo related, reasons. Anyway, Pecker is a rather odd young man who lives in a rather odd small town somewhere in America. Pecker's hobby is to take photos of anything and everything, and claim that it's art. This hobby, one day, attracts the attention of a New York art dealer and Pecker is transported into super-stardom, much to the dismay of his Laundromat obsessed girlfriend and the rest of his small town.Director John Waters directs the film in a very surreal style, which gives it a very unique edge, and instantly grabs your attention. Waters evidently doesn't care about the integrity of film-making, and so sees fit to meld together something that can easily be seen as a mess. The leads carry Waters' mess with vigour and gusto, but never really impress or deliver great performances. Edward Furlong gives his character a naive edge, which bodes well with his small town roots. He does look more than a little bit embarrassed at times, but sort of adds to the kitsch appeal of the movie. Christina Ricci does her usual 'bitch' thing, but it doesn't work in this film as her character is supposed to be a more down to earth and snob hating, so to have her as a snob herself ensures that the film loses yet more credibility and makes it even more of a mess. The film will offend some viewers for it's rather graphic lesbian strip club scene; not to mention it's central, gay club, location, and that adds weight to the idea that this is very much a 'love it or hate it' sort of film, and I'm sure that's how Waters wants it. I, however, do not add weight to that claim as I merely thought it was 'pretty good'. Take that John!

Libretio PECKER Aspect ratio: 1.85:1Sound format: Dolby DigitalThe life of an aspiring Baltimore photographer (Edward Furlong) is turned upside down when his neighborhood snap-shots are embraced by the New York Art-set.John Waters takes a satirical swipe at the bubble-headed Art world in this low-profile entry, which adheres closely to the template established in his earlier 'mainstream' works (HAIRSPRAY, CRY-BABY, etc.). Waters' own screenplay includes a wide assortment of eccentric characters, engaged in an uneasy truce with conservative doomsayers who cluck loudly from the sidelines, and he paints the mix in vivid colors, providing a unique visual backdrop for cartoon-like performances which teeter precariously on the brink of caricature. Furlong and co-star Christina Ricci are blank but charming, an 'ordinary' couple who retreat into anonymity as their lives are consumed by the demands of those around them: Furlong's naive parents (Mary Kay Place and Mark Joy), fag-hag sister (Martha Plimpton), sugar-addicted brat sibling (Lauren Hulsey), and the Art crowd who live in their own little world, far removed from everyday reality (their reaction when forced to travel from New York to Baltimore is priceless!). Amusing rather than laugh out loud funny, the movie will divide viewers from the outset; die-hard fans of this director's worldview, however, will be bowled over by his daring.