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If you’d like to be disgusted, search for the name Chante Mallard. What you’ll find is the story of a drug/alcohol intoxicated woman, who hit a man named Gregory Biggs with her car while she was driving home. After the collision she completed her trip, parked in the garage, and proceeded to callously let Biggs bleed-out (officials believe he would have lived if given medical help) while she had sex with her boyfriend and no doubt did whatever else her morally decayed black heart desired.
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Since no audience would appreciate simply seeing a man slowly bleed to death while stuck in a car windshield, the makers of this movie took some liberties with the truth. I’m ecstatic they did.
Thomas Bardo (Stephen Rea) is down on his luck. Evicted, jobless, possession-less, he doesn’t even have a place to sleep. When police wake him from slumber on a park bench, he’s forced to make his way toward a mission.
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Meanwhile, Brandi Boski (Mena Suvari - miscast because Mallard is an obese black woman) is a soulless, selfish drug-abuser who is getting trashed and partying the night way. (Suvari really manages to pick out character roles that make me despise her) Many other reviewers may view her as “balanced”, but since she’s a drug-using drunk driver, and is a white girl with corn-rows - which never looks good - I’m going to go ahead and say that she’s incredibly unbalanced and vile.
As if it were a surprise, she’s blitzed out of her mind (thanks to X and alcohol), effing with her cell phone, swerving all over, and she blasts Bardo, mangling his legs and lodging him in the windshield. Drunk or not, people with a shred of humanity stop there and help the man. But not this intellectually, morally, and spiritually defective sociopath. Instead, she goes home and has the least appealing non-rape full-frontal nudity, sex scene in cinema history.
Ahh…the resolution. In real life, as I said before, it’s boring. This movie, however, provides the resolution that Ted Kennedy sees in his nightmares. Brilliant. I won’t ruin it, but the tight directing and believable acting accentuates Bardo’s rage against the dying of the light.
Overall, I recommend this for people with mild tempers and no heart conditions.
COMMENTARY
Knowing the case beforehand, I watched the majority with a snarled lip. Such social apathy really brings out my misanthropy. This single instance serves as a harsh critical analysis representative of the insidious cultural decay that has wreaked havoc on the community, family, and morals of our society. It’s an overtly sexual, me-first MTV-generation where every child is a precious little snowflake, nobody has respect for family, elders, or authorities, and selfishness all but negates personal accountability. People like Mallard are deserving of a special place in hell, and the fact that there is no doubt at least one person with sympathy for her only reflects society’s decay. It’s sad that the movie ending isn’t the real ending, and that vile scum like Mallard are allowed to live, let alone be given the possibility of parole. With any luck (crossing my fingers), karma will make the rest of her life a horror movie.
I was stuck on this B movie from its opening scenes. Inspired by a true story (rather than a sick joke), Stuck is a 2008 black comedy about a Providence nurse, Brandi (Mena Suvari of American Beauty) who, high on cocktails and Ecstasy and while talking on her cellphone, hits a newly homeless guy, Tom (Stephen Rea of The Crying Game), who then remains stuck in the broken windshield of the Brandi’s car for days. While Tom attempts to survive, Nurse Brandi avoids calling the police and refuses to render medical assistance. Instead, she pops more Ecstasy, has sex with her boyfriend, and wonders how the accident might affect her promotion at the retirement home where she works. This is not good, she figures. So instead of saving Tom, she pleads, “Whay are you doing this to me,” and then whacks him with a board whenever he regains consciousness, hoping that he’ll just die already so she can dispose of his body. Re-Animator Stuart Gordon’s satirical film is ultimately about an American culture that has become so self-absorbed that it is easier to refuse assistance to a dying person than to inconvenience oneself. Brandi’s refusal to believe the accident was her fault, instead blaming the homeless guy for the sticky situation, works as priceless comedy. Stuck is rich in sex, drugs, horror, and graphic grindhouse gore.
G. Merritt
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