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Pecker
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Directed by John Waters
John Waters wrote and directed this $6.5 million satire on the Manhattan art world, a rags-to-riches comedy about 18-year-old amateur photographer Pecker (so named because he pecks at his food). Pecker (Edward Furlong) is a blue-collar kid who works in a Baltimore sandwich shop and takes snapshots of family, friends, and customers. His mom, Joyce (Mary Kay Place) runs a thrift shop where she offers fashion advice to the homeless, while sis Tina (Martha Plimpton) recruits go-go boys to dance at the local Fudge Palace. Pecker's younger sister, Little Chrissy (Lauren Hulsey), has a sugar addiction, and his grandmother, Memama (Jean Schertler), the "pit beef" queen of Baltimore, conducts prayer meetings with her talking statue of Mary. After hip Manhattan art dealer Rorey Wheeler (Lili Taylor) becomes fascinated with Pecker's photos, a big exhibition is in the offing, followed by overnight fame as the young man becomes the new darling of the New York art scene. Soon Pecker discovers that fame has its price. Shown at the 1998 Toronto Film Festival. ~ Bhob Stewart, All Movie Guide
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Review by All Movie Guide
All Movie Guide
is neutral about it.
The strongest of John Waters' post-Hairspray Hollywood films, this gentle satire offers something neither the flat Serial Mom nor the bombastic Cecil B. Demented could muster: characters whose tics and schtick recall the director's best underground work, but who still seem only half a step removed from reality. Waters regulars Patty Hearst and Mink Stole don't have nearly enough to do, but the rest of the cast is a who's who of indie and comedy talent, from sitcom royalty Mary Kay Place to '80s survivors Lili Taylor and Martha Plimpton and '90s kids Christina Ricci and Brendan Sexton Jr. As Pecker, the outsider artist suddenly embraced by the tastemakers and the money people, Edward Furlong displays a sweetness and vulnerability that didn't always come across in his earlier work; in fact, the entire film is suffused with a good-heartedness that's miles away from Waters classics such as Pink Flamingos. Critical reception centered on the parallels between Pecker's experiences and those of former guerilla filmmaker Waters, both of whom have a knack for turning folks on to the freaks who lurk just out of middle-class sight. Ultimately, though, it's the character-driven humor and a clutch of first-rate running gags that invest Pecker with its considerable quirky charm. ~ Brian J. Dillard, All Movie Guide
 

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