Dir: John Hazlett.
The thrust of
It nonetheless facesan uphill commercial battle in overcoming skittishness toward the subjectmatter, extremely modest production values and a relatively unknown cast.
Told from thevantage point of Keira (Caroline Dhavernas),the story unfolds as a memory of a fateful last summer among friends at aslumbering beach community. Her pals, the beauty-obsessed Glory (Amanda Walsh)and the tomboyish Lisa (Holly Lewis) are at that critical point in life wherethe future looms and the prospects appear remote or pre-ordained.
Regardless, thetrio has too much time to ponder what appear to be limited options and areadditionally distracted by raging hormones and the relative absence ofsubstantive mates. In fact, their closest male bond is asexual and learningimpaired.
The fatefulturning point in the young women's lives occurs when Keiralearns that local entrepreneur Keith Clark (David Boreanaz)has a covert marijuana patch and enlists Lisa to make a raid on theinfestation. In the process of accomplishing the prank they discover thatGlory's babysitting duty for the
Employing a slycombination of guile and blackmail, Keira confrontsthe New Age businessman with a proposition. He will see to their sexual needsand they will keep their silence.
Objectively it'san unholy pact. However, director and co-writer John Hazlettdeftly avoids condemning or condoning the situation. Boreanaz'simprisonment is rather poignant as he sees himself as essentially a good fatherand husband with a fragile libido. The teenagers do not have dark, ulteriormotives; and at times seem to address the situation as a class science project.
The flesh isunquestionable weak but the personalities are disarmingly winning andforthright and, despite a degree of convenience in the plotting, the yarnevolves in surprising and satisfying fashion rather than in the tawdry andleering fashion of American Pie andits ilk.
Production Jeux d'ombres
Hazlett, from the play by Vivienne Laxdal