In film there is a rule that one shouldn’t break – show and don’t tell. In Mitchell Lichtenstein’s directorial debut, the filmmaker shows a little too much – and many younger audiences will thank him for it. One won’t have to crack out a dictionary to explore what this mythic female condition is – Teeth comically addresses man’s worst nightmare in an outlandish style that will either make you declare this is the best horror com since Scream or a sad case of a great script idea with an awful delivery.
With a wink to The Simpsons’ Springfield smoke stacks in the not so distant background, this is set within the confines of a close-knit community where Christianism and the virginity movement are strong allies in keeping young girls safe from preying members of the opposite sex. With an After School Special tonality, this is partially an overly repeated cautionary tale for young teenage boys and is a playful announcement of when a female discovers both her sexuality and her own sense of empowerment. The flick commences with a flashback to childhood sequence that perfectly sets up the film, unfortunately not enough material is developed in terms of the central figure – a human chimera with inner genetic wiring that is the equivalent to Jaws on land. The majority of the film is spent singling out her victims – they are introduced, and then disposed of.
Jess Weixler plays the role of Dawn almost pitch perfect – going from a naïve, venus flytrap with the screwed up chromosomes and with all the awkwardness of a girl that has never touched herself to the end result of a confident girl who has learned to love her special power.
The film carries an amateurish look that works in its favor – the goofy-looking graphic shots that bravely displays the aftermath and the sloppy schlocky look of the affair will make the MPAA’s knuckles a bit more whiter. More creepy than missing bits and pieces are the awkwardly designed subplot that centers on her direct family members.
Lichtenstein is influenced by and offers an homage to monster films of the 50’s, and makes direct references to female horror agents found in Carrie and perhaps, Lucky McKee’s May. Never sure of what tone it wants to adopt, Teeth emphasizes on gross-out comedy formula elements when more edger and less obvious explorations of masculine fears and the unknown female anatomy would have been preferred. A great concept that doesn’t have enough steam – there will be a lot of work needed to make this presentable – if anything, fresh face Weixler will find other gigs.
Reviewed at the 2007 Sundance Film Festival on January 19th.
