Okay, this is a movie that should not work. You should see this thing and become instantly morally indignant and hurl it as far from you as possible. The fact that the filmmakers dared to attempt to capitalize on the tragedy of the Columbine massacre should be enough to legalize their untimely demise. There’s just one problem: it’s not a bad movie.
Though not exactly a bio-pic of Columbine killers Harris and Klebold, Duck! tells the story of Derwin and Derrick (Factory 2000 founders Hellfire and Smack), a pair of trench-coat-wearing outcasts who ultimately go postal on their classmates. The products of dysfunctional households, Derwin and Derrick are really the only characters explored to any great degree. The rest of the students are portrayed as one-note stereotypes: the angry African-American, the Bible Chick, the Jock’s Girlfriend, the Car Jock, the Retarded Kid, most of whom persecute or abuse the lead characters for no real reason (in much the way persecution and abuse occur in real life).
Obviously, this is one of those stories in which the audience is waiting for the forgone conclusion. We’re just biding our time, waiting for the carnage to begin. Strangely enough, however, when it does, there is a feeling of real catharsis. Though neither Hellfire or Smack attempt to make us sympathize with the killers any more than they want us to sympathize with the victims, you begin to feel an odd sort of empathy for the misfits. They’re depressed, isolated psychos, but maybe they were justified in their rampage. (This isn’t to say that the Columbine killers were justified, but in the Factory’s typical nihilist point of view, Hellfire and Smack are saying that everyone deserves to die, that the human race itself deserves to be wiped out. Obviously, the story is skewed to support this philosophy, and in this case, you begin to think they might have a point.)
Duck is, of course, rife with problems. The leads aside, the acting ranges from uneven to abysmal, with the possible exceptions of Misty Mundae and Lily Tiger, playing thankless one-note characters, but doing it well. The camerawork runs in the same range, though you can tell that the filmmakers are busting their asses to make a decent product out of what little they had to work with. Sound, too, is a big problem, though the soundtrack itself is minimalist and occasionally even eerie.
Surprisingly, the bizarre tone of the film, constantly shifting from parody to social commentary, actually works. The inappropriate humor actually works in the favor of the story’s overall impact. What doesn’t work are the interspersed head-shot cameos by E.I. personalities Mike Raso, Zack Snygg, John P. Fedele, John Link, and Jeff Faoro, playing a variety of concerned citizens and “experts” commenting on the film’s outcome. While these guys are always funny in their own right, their over-the-top performances hurts the generally understated performances of the Factory actors, and does little more than draw you out of the story.
Flaws aside, Duck! The Carbine High Massacre is worth seeing, particularly for fans of low-budget independent films. Most While the Factory 2000 people are better known for their mean-spirited soft-core porn, Duck was obviously a labor of love and an attempt to make a more serious film while The Infamous Bondage Murders series pays the bills. It will be interesting to see what else Hellfire and company come up with, the next time they’re given half the chance.
Duck! The Carbine High Massacre can be ordered through E.I. Entertainment, or by visiting www.duck2k.com.