PICK ME UP

Perhaps the most thoughtful, well made, and terrifying series of television to hit the waves since the death of Millenium and the X Files, and certainly the most adventurous, tackling such high pressure themes as sexual abuse, political scandal, and prejudice in a fashion that mainstream television would not allow, Masters of Horror continues to tackle new ground. Larry Cohen, an exploitation legend, creates in his newest parody of the psychological thriller/slasher a short movie that is entertaining in its delivery if not as thought provoking as its initial premise promises, combining humor and horror in an rather awkward cynical manner. While uneven in approach, the dark humor injects enough irony into the situation to enliven its urban legend aura.

Pick Me Up is both a straight horror tale and a satire of the very same elements that it depends on to arouse emotions of arousal and horror. David Schow's screenplay (based on his own short story) begins, appropriately enough, in the middle of a deserted roadway -- the rough, lonely heart of our nation. The story features a contest of wills and wiles between two sociopaths -- Michael Moriarty's rig driving Wheeler and Walker (Warren Kole), a hitch-hiker. Pick Me Up focuses on evil vs. evil and one woman's struggle to stay alive in the midst of such blood hunger. Wheeler kills hitch-hikers that he finds on his route, while Walker, appropriately enough, slays those who give him a ride. When Stacie (Fairuza), an agitating 'tough' girl whose bus breaks down, decides to walk to town, she finds herself slapped in the middle of this highway duel. While several passengers meet violent ends at both Walker and Wheeler, she is treated as a prize between the two warring predators. While the set up here is charming in its simplicity, and full of laugh-and-shudder potential, a ridiculous, cliché ending ruins the effectiveness of the story. Perhaps purposefully conceived as an homage of/attack against the traditional 'surprise' ending of the slasher film, the joke falls flat, feeling trite rather than clever.

Wedding irony and rough justice with subversive themes of mutation, change, and struggle, Larry Cohen's work is admirable for its vitality and insistence on combining such exploitative story elements as graphic violence and sexuality with pertinent examinations of our culture. Pick Me Up is enjoyable as a surface story of two serial killers fighting for the same girl while asking us in its subtext to examine our own morality. A society of abuse, materialization, dishonesty, and deviancy reveals itself through Schow's script, and Cohen directs with fresh simplicity, mirroring the dark hearts and struggles of believable characters with shadows, rainstorms, and seemingly innocent settings where the worst can (and often does) happen. While the story has its dark heart in the right place and could have defiantly been a contender, the story itself fails to evoke true suspense, opting instead for wit . . . Perhaps a bit too much, as the in-jokes hamper the dramatic action and the major conflict between Wheeler and Walker itself soon looses its novelty. Regardless of its structural and thematic flaws, the film is entertaining for the quality of the acting and those comedic moments that do work.

As with all the other Masters of Horror discs, visual and audio quality is pristine, emphasizing Cohen's use of color and darkness. The picture is free from blurred images, lines, scratches or other surface defects. Audio is evenly distributed, the dialogue crisp. It is no surprise that extras are longer than the feature itself, as Anchor Bay has treated each of MOH's episodes with respect. There are a wealth of supplements, some of which are more impressive than the movie itself. First up is "Death on the Highway: An Interview with Larry Cohen," where he expounds upon his decision to film this particular episode and what measures he took to ensure quality. The man's showmanship is evidenced in "Working with a Master: Larry Cohen," as he continues speaking about his role in the production of the film, the series in general, and his opinion of the talents he had to work with. Of special focus in these and the audio tracks is the thematic depth everyone involved was trying to reach with this parody of genre, and if the result isn't what they hoped, you cannot blame them for insincerity, as their devotion stands out in these personable interviews. Perhaps the greatest moments of this film were the performances themselves, with Moriarty's standing out. A little celebrated actor, and shamefully overlooked, Moriarty brings believability and richness to practically any role he tackles, and we see the depth of his commitment and ability in "On Set: An Interview with Michael Moriarty," where he shares his approach to the character. "On Set: An Interview with Fairuza Balk" is up next, and while not as informative, better shapes our appreciation of her role, something similarly achieved in "On Set: An Interview with Warren Cole," who shares the enthusiasm of his fellow thespians. While these interviews occasionally threaten to merge into one, crossing similar themes, they remain distinct enough to retain interest, as does "Behind the Scenes: The Making of "Pick Me Up," although this featurette is clearly intended as little more than padding. Of most worth is the Audio Commentary with Director Larry Cohen," wherein he really digs into the memories, approaches to, and meanings of each scene in the film and expands upon themes and approaches to the genre mentioned in earlier talks with him. Also of note is the Mick Garris Interview with Cohen, which, despite covering some similar ground, manages to feel fresh as a result of Garris. Theatrical Trailers, the expected Still Gallery, and a Larry Cohen Bio round out this impressive package of an entertaining yet ultimately flawed little movie.

Review by William P. Simmons