Are you wasted? (...) You know we have to check in with Mom in like 10 minutes. I'm totally fine.

but i’m a cheerleader (1999)

But I'm a Cheerleader (1999)

Director: Jamie Babbit

Cinematographer: Jules Labarthe

Starring Natasha Lyonne, Clea DuVall, Cathy Moriarty, RuPaul, Mink Stole, Bud Cort, Melanie Lynskey

Queer Media Review: But I’m A Cheerleader (1999)

Originally posted September 16th, 2016

A tonally mismatched, endearing cult classic.

This review is part of a weekly series of pieces on queer and trans media. See them all here!

Jamie Babbit’s1 first feature film, But I’m A Cheerleader, has, in the years following its release, become something of a classic piece of queer representative media. It frequently tops recommendation lists of films about queer people that don’t end in tragedy (lists that are far shorter than they have any right to be), and it is a film I have heard described as “quintessentially lesbian.”

This film’s status as an iconic lesbian film baffles me. Cheerleader is not a bad film, per se, but it is, in almost every way possible, a sleazy teen comedy that attempts to mine humor out of an incredibly traumatic and horrifying scenario (namely, being sent off to a gay conversion camp). That designation isn’t inherently negative; the same can be said of the original American Pie and John Tucker Must Die, and both of those films are entertaining because they revel in just how sleazy they can be. If But I’m A Cheerleader had committed to reveling in the sleaziness of turning the trauma of conversion therapy in a light comedy, then it might have succeeded on those (less than savory terms.

But Cheerleader is caught in between two worlds. At its core, it’s a film that wants to be a down to earth romance about good people finding love in a dark situation, but that core is constantly at odds with the low-brow humor and unintelligent satire that fills nearly every scene. It never attempts to examine the absurdity inherent to its scenario, and the only clear statement it makes about conversion therapy is that it’s ineffective, which is as obvious a statement on the matter as a film could make. The film also has a wildly inconsistent visual language2, frequently switching between bland stationary shots and handheld tracking shots for no apparent reason, only to return to its bland cinematography a moment later.

And yet, despite all of those flaws, I still rather enjoyed watching Cheerleader. Even with all the poorly designed sleaze surrounding it, the emotional core of Cheerleader is damn compelling, presenting us with a slowly budding romance between two highly likable characters.

That solid emotional core is established early-on through Megan (Natasha Lyonne, of Orange is the New Black fame), a very sympathetic protagonist who is confused about her own sexuality. She frequently fantasizes about her fellow cheerleaders while making out with her boyfriend, and she has a picture of a bikini clad woman in her locker, contrasted with her friend whose locker is adorned with a male model. When she’s ambushed by her friends and parents (in one of the few good uses of visual storytelling, I might add), she’s completely blindsided by them, and she quickly submits to their demands that she attend conversion therapy, despite her beliefs that none of the “evidence” presented was abnormal or confirmed her supposed “homosexuality.”

Megan’s cluelessness and empathy make her romance with Graham (Clea DuVall), another attendee at the conversion therapy camp, all the more believable, as their coupling is treated as a subtle slow, burn. We see them holding hands and touching each other, carefully avoiding the watchful gaze of Mary Brown (Cathy Moriarty), the camp’s strict headmistress. There’s a clear understanding of the danger of their budding relationship in the film, as when Graham deflects suspicion off of their rebellion by claiming to have a crush on Joel (Joel Michaely), a gay Jewish man also attending the camp, Megan is never shown to be jealous of the affection he’s receiving (she even takes a chance to stare flirtatiously at Graham while she’s holding hands with Joel).

The film also does challenge one idea, and that’s the idea that gender expression and fulfillment of gender roles are connected to or determinate of sexuality, though it does so with mixed results. Early on, there’s a scene where the characters must all think about and confess what the “root” of their homosexuality is, and one of the men at the camp claims that his mother allowing him to wear her pumps was the single experience in his life that led to his same-gender attraction. The film wants to paint this as the ridiculous connection that it is, but its strength is lost because so many of the film’s jokes rely on the association between gay men and femininity.3

The film is more successful in challenging stereotypes about sexuality and gender when the masculine presenting Jan (Katrina Phillips) storms out of a group therapy session, upset that her love of softball and unconventional looks have led to her attending the camp despite the fact that she has always been fully and exclusively attracted to men. Her rejection of the camp’s attempt to foist femininity onto her rings true thanks to Phillips’ compelling performance and the film’s lack of insistence that masculinity in women is in any way indicative of same-gender attraction (an acknowledgement that is present in the film’s title).

The ending of the film, despite being rather annoyingly cutesy, is fairly compelling as well, setting up a scenario in which one of the members of the lead couple is about to “graduate” from the camp, and the other must fulfill a wish the graduating partner made in order to convince her to run away with her. It’s an incredibly sweet gesture, and their relationship is given a satisfying conclusion, capping off the film with passionate kisses and annoyingly chipper music. That this scene works despite its presentation is a testament to Babbit’s strength as a director (of actors) and Natasha Lyonne’s strength as an actress, as the two of them sell the emotion of the scene that would otherwise be drowned out by a bad pop musical score.

Such a tonally conflicted, endearing scene is arguably the perfect ending to this film.

Rating: 3.5/5

But I’m A Cheerleader can be rented and purchased on iTunes or streamed via Xfinity.

Critical Eye Criticism is the work of Jacqueline Merritt, a trans woman, filmmaker, and critic. You can support her continued film criticism addiction on Patreon.

1While Babbit hasn’t directed many features of significant acclaim since But I’m A Cheerleader, she has gone on to become a rather prolific TV comedy director, specializing in smaller, character-driven comedies such as Gilmore Girls (for which she directed eighteen episodes), Malcolm in the Middle, and more recently working on hit comedies like Brooklyn Nine-Nine and Silicon Valley (she even directed one of the best episodes of Supergirl’s first season!) All of this to say, she’s got a rather impressive body of work behind her, and it would not be surprising if her name were to show up on a highly successful feature comedy sometime in the near future.

2Bonus points if you caught the reference.

3These jokes are made in spite of the film’s inclusion of Dolph (Dante Basco), a varsity wrestler whose masculinity is never in question, and Larry (Richard Moll), an “ex-ex-gay” who looks like a lumberjack right down to the flannel.

poker face getting clea duvall to play natasha lyonne’s sister? yeah, that’s perfection right there

This was a very good article! I loved hearing Kristen’s (and Jodie Fosters) perspective as a queer trailblazer. Inserting some snippets below 🤍

To get to this point, Stewart’s weathered more than a decade of unrelenting media scrutiny, first about her straight relationships, then about her gay ones, as she figured out her own identity. She leveraged her global stardom from the “Twilight” franchise not to become a superhero or a lifestyle guru, but to fuel an astonishing run of acclaimed independent films, including “Clouds of Sils Maria,” “Still Alice,” “Certain Women,” “Personal Shopper” and the Princess Diana drama “Spencer,” for which she earned an Oscar nomination.

“Whenever I hear that she’s doing something new, I’m so curious to see what it is, because it’s going to be a movie that hasn’t been made before,” says Clea DuVall, who directed Stewart in one of her only Hollywood films during this period, Hulu’s 2020 release “Happiest Season,” the first lesbian Christmas rom-com backed by a major studio. “She really is so herself. And I think that’s why so many people respond to her the way they do — because she is so authentic.”

By the time Stewart stepped on the stage of “Saturday Night Live” in February 2017, she’d spent the previous two years trying to convince the press that it was OK to write about her relationships with women, rather than resort to the vexing practice of referring to her girlfriend as her “gal pal.”

“It wasn’t even like I was hiding,” she says. “I was so openly out with my girlfriend for years at that point. I’m like, ‘I’m a pretty knowable person.’”

But even with that posture, the media’s “gal pal” dog whistle triggered a deeper, more painful history of intrusive curiosity about Stewart’s sexual identity. “For so long, I was like, ‘Why are you trying to skewer me? Why are you trying to ruin my life? I’m a kid, and I don’t really know myself well enough yet,’” she says. “The idea of people going, ‘I knew that you were a little queer kid forever.’ I’m like, ‘Oh, yeah? Well, you should honestly have seen me fuck my first boyfriend.’”

It’s worth dwelling on this point: For almost the entire history of Hollywood, queer actors dreaded the public discovering who they really were, and that fear kept the closet door firmly closed. “Because I was gay, I really retreated,” says DuVall, who came out publicly in 2016. “Even doing a teeny tiny movie like [the ’90s lesbian cult favorite] ‘But I’m a Cheerleader,’ people immediately were like, ‘She’s gay, how can we out her?’ I wanted to stay small.”

Stewart, though, went big, with a monologue on “SNL” about how President Donald Trump, in 2012, obsessively tweeted about her relationship with Pattinson. “Donald, if you didn’t like me then, you’re really probably not going to like me now, because I’m hosting ‘SNL’ — and I’m, like, so gay, dude,” she said to wild cheers from the audience.

“It was cool to frame it in a funny context because it could say everything without having to sit down and do an interview,” Stewart says before running through the kind of questions queer actors have had to consider before coming out publicly: “‘So what platform is that going to be on? And who’s going to make money on that? And who’s going to be the person that broke it?’ I broke it, alone.”

A few days later, I mention Stewart’s “SNL” monologue to Foster over the phone, and she lets out a big laugh. “I never knew that,” she says. “What a wonderful, funny, wry, modern way to be honest to the world. That’s just awesome.”

As Stewart talks about her “SNL” experience, I think about how no stars of her age and stature ever came out when I was growing up as a gay kid in the 1980s and ’90s. So to have her professional trajectory not skip a beat feels like real progress.

When I tell her as much, she takes the conversation in an unexpected direction. “Because I’m an actor, I want people to like me, and I want certain parts,” she says. “I have lots of different experiences that shape who I am that are very, very far from binary. But I did get good at the heteronormative quality. I play that role well. It comes from a somewhat real place — it’s not fake. But it’s fucked up that if I was gayer, it wouldn’t be the case.”

I try to clarify what she means: “So your career maybe would have suffered after coming out had you not affected a performative femininity …”

“… that I know works to my advantage,” she admits, nodding. “That’s why I’m fucking stoked about ‘Love Lies Bleeding.’”

Stewart didn’t let that scandal, as intense as it was in the moment, stifle her. Instead, she grew to fully embrace her queerness in her public life — like bringing her girlfriend, screenwriter Dylan Meyer, to the Oscars in 2022. “It’s not that I wasn’t scared,” Stewart says. “It was just that there was no other way to live.”

She’s even started to recognize that the most ostensibly heterosexual thing she’s done, “Twilight,” has its own queer sparkle. “I can only see it now,” she says. “I don’t think it necessarily started off that way, but I also think that the fact that I was there at all, it was percolating. It’s such a gay movie. I mean, Jesus Christ, Taylor [Lautner] and Rob and me, and it’s so hidden and not OK. I mean, a Mormon woman wrote this book. It’s all about oppression, about wanting what’s going to destroy you. That’s a very Gothic, gay inclination that I love.”

I ask Stewart if she understands how much her decision to come out has also made her a role model for LGBTQ people. She cackles. “Oh, you have no idea,” she says. “Every single woman that I’ve ever met in my whole life who ever kissed a girl in college is like, ‘Yeah, I mean, me too.’ I’m constantly joking with my girlfriend. I’ll be sitting there and be like” — she whispers — “‘She’s gay too. Everyone’s gay.’”

It can be easy to forget just how rare this still is, a giant movie star living such an openly queer life. “It feels like a generational thing, where I’m watching somebody make the leaps that I didn’t think I could ever do,” Foster says.

After fiercely guarding her privacy for decades, Foster came out publicly at the 2013 Golden Globes, and has just now played her first explicitly gay character in the 2023 biopic “Nyad.” Talking about Stewart has put Foster in a reflective mood. As our call is coming to an end, she offers this unprompted insight: “I get a lot of questions about who I was and what I represented in the industry, and was I — I don’t know …” She exhales. “Was I helpful in terms of representation? I’m sure there’s a 12- or 13- or 14-year-old when I was making movies as a young person who said that I had something to offer to them in their life as a queer person. I had to do it my way. I had pioneers to help the way, who I’m grateful for. And now people can be grateful for Kristen for being the pioneer. I’m just — I’m grateful to her.”

This sense of communion with the wider LGBTQ tribe is why Stewart has dedicated herself to embracing the fullness of who she is as a bro-y, butch-y queer woman in her work as an actor and, come hell or high water, a director.

“I was like, ‘I would like to be on that team because we need each other,’” Stewart says. “I didn’t want to be left out anymore. It was this whole world that I didn’t realize I could explore.”

Clea Duvall in Girl, Interrupted (1999)

Directed by James Mangold

Bengiyo's Queer Cinema Syllabus

For those who are not aware, I have decided to run the gauntlet of @bengiyo’s Queer Cinema Syllabus and have officially started Unit 3: Faith and Religion. The films in Unit 3 are: But I’m a Cheerleader (2000), Prayers for Bobby (2009), Latter Days (2003), Blackbird (2014), The Wise Kids (2011), Henry Gamble’s Birthday Party (2015)

Today I will be writing about

But I’m a Cheerleader (2000) dir. Jamie Babbit

[Run Time: 1:30 , Available: tubi, amazon, google play, apple play, Lang: English] 

Summary: A cheerleading-obsessed teenager is sent to a strict summer camp when her parents suspect her of being a lesbian. 

Cast: * Natasha Lyonne as Megan * Clea DuVall as Graham, Megan's love interest

Note: I watched the 2020 Director’s Cut

__

Hello, I have entered The Danger Zone. For the next two units I expect to be absolutely and utterly dashed upon the rocks as I start Unit 3: Faith and Religion, and eventually wash it down with Unit 4: Heartbreak Alley. 

Ben is being nice by having the first film on the list be But I’m a Cheerleader, so at least we can ease our way in to the conversations around conversion therapy and religious trauma to the queer community with some dark humor and bright colors. 

While I decided to embark on this syllabus project because my experience with queer media has been severely limited, there is at least one movie in Units 1-6 that I have seen before. For Unit 3, it is this one. I love this movie. I love this movie because for all that it is dark, for all the pain you see being carried by these queer teenagers, for all the harm that has and could be done to them throughout their time at True Directions, the film wastes absolutely no time highlighting the absolute absurdity of programs like this. What do you expect to happen when you put a bunch of horny, queer teenagers in a room together? But I’m a Cheerleader does a phenomenal job at maintaining the fact that queerness is inherent, it is not learned, it is not chosen. 

And it does something else that I picked up on this watch through, that makes me appreciate it even more, which is that it kinda pokes fun at 12 step-programs.

I don’t know that I have really talked about this much on my tumblr, I know I have referenced it a couple times in like…comments and conversations with some of my mutuals on tumblr about my opinions on Alcoholics Anonymous. Before I dig in to it, I will preface that AA and NA works for who it works for, and that’s cool, but I have strong negative opinions on these 12-step programs as a harm reductionist because they hold abstinence as the ultimate goal of substance use recovery, they are super religious, and they generally espouse anti-harm reduction ideologies. So seeing True Directions have a five step program, where the first step is literally admitting you have a problem are a homosexual, and to see these steps be a) absolutely absurd, b) random, and c) ineffective made me so happy. 

[OKAY WAIT REST OF POST ON PAUSE BRIEFLY SO THAT I CAN SHOUT ABOUT THE DIRECTOR OF THIS FILM AND THE FACT THAT AS I WAS RESEARCHING FOR THE FOR/BY/ABOUT SECTION, THE DIRECTOR, JAMIE BABBIT’S MOTHER RAN A TREATMENT PROGRAM FOR TEENAGERS WITH DRUG AND ALCOHOL PROBLEMS THAT WAS NAMED NEW DIRECTIONS, AND THAT IS WHAT TRUE DIRECTIONS WAS BASED ON. HAHAHA! That is the most succinct confirmation of my read on a piece of media I have ever had] 

For real, this program did not work on a single one of the residents by the end of the film, and that is absolutely what needs to happen. 

I love that the kids sneak out to go to a gay bar, I love that when the kids fail the conversion therapy program they get taken in by survivors of True Directions and find safety in a queer-positive house, especially because (as we see with Megan) if the kids fail the program they do risk homelessness. Which is a very real and present threat to queer kids today, both conversion therapy and possible homelessness. 

I like that Megan’s parents picked up on the fact she was queer before Megan herself did (shout out to vegetarianism, I literally wrote ‘vegetarian’ in my notes as an observed potential indicator lol) and find it is absolutely an intentional point that Megan would very possibly not have realized she was queer if her parents hadn’t sent her to conversion therapy, because it was not until a fellow queer was like “not all girls think about what you are thinking about when you look at girls” 

And it always hurts my heart a little when I hear people say their parents make comments sometimes that are like “well, everyone thinks about kissing a girl sometimes” etc etc and are still existing under the belief that they are straight. Megan seemed completely oblivious to her own queerness until other people pointed it out, and her parents might have had the intended outcome of a “straight” child if they had just kept their mouths shut and minded their own goddamn business. 

Not that we want Megan to be straight, but more just that the film itself feels like it does make a point of calling out the fact that putting your queer kid in a room with other queer kids is going to help them understand themselves better. It’s why cishets are so terrified of trans people, because the more visible trans and/or queer people are, the more people are able to question their own identities, and the more the white supremacist society we have built in the United States starts to become undermined by the degradation of a pillar of patriarchal heteronormativity, etc etc. 

I love that on the boy’s side of True Directions all the little decorations of like…shop tools and soldiers look sexual. The soliders look like they are either getting fucked in the ass, or about to perform oral sex. The tools look like dicks, it’s very much indicative of the fact that even the adults who say they have been “cured” really have not been, because they are still creating scenery and teaching these boys how to be straight while subconsciously producing images of queerness. 

I love that But I’m a Cheerleader is also able to challenge our own perceptions of queerness and heterosexuality. I love that it is Jan, who looks the most butch/masc of all the girls who is revealed to be heterosexual, and I think it is vitally important to see this not only as commentary around judging people based on appearance, but also can be used as a discussion point about the masculinization of women of color, and in addition the fact that all the girls are turned on watching Jan vacuum the floor, demonstrating that masculine women can be seen as hot/sexy. 

Anyway, I love this movie a lot, I think the messaging is great, I think it can read a little more serious for a queer audience than a straight audience around the actual extent of the damage done to these characters during their time at True Directions, but I think there are all of these little things that make the funny moments funnier if you are queer. 

For/By/About 

For sure by and about queer people. Both the director, Jamie Babbit, and the screenwriter, Brian Wayne Peterson are queer. I will admit that for a bit during the film I struggled to decide whether or not this film was made for queer people, because in some regards I thought that perhaps the purpose of But I’m A Cheerleader was to show straight people how fucking stupid conversion therapy is. But, I have actually landed on The Gay Trifecta for this one. 

Jamie Babbit stated that part of her inspiration for making this film was because she wanted more representation for fem lesbians in media, and that she decided to make it a romcom because of how media has historically treated lesbians (if you have read some of my other posts, we know I have talked about that history multiple times). 

Favorite Moment

SEX SCENE! So, I am pretty certain that I watched But I’m A Cheerleader for the first time before 2020, and therefore I did not have access to the director’s cut. But, in 2020 Babbit released her own cut of the movie, which is 5 minutes longer and I think the only difference between the two films is the addition of a sex scene that had been cut out of the initial film. It is not a hardcore scene by any means, but it is absolutely gorgeous, and it has some very clever and important shots contained within it, the most memorable for me being the shot of the cross necklace Megan always wears as she is actively having sex with Graham. 

Favorite Quote

“You are who you are, the only trick is not getting caught” 

God is that just like a bullseye statement for queer people, especially the ones who have to stay closeted. Such a quick line, such an active acknowledgement of threat, because everyone that ended up at True Horizons either got caught or couldn’t hide.

Score

10/10

Next up, Prayers for Bobby, and uh, I have it on good authority that it may leave me looking like Graham in that gif directly above this sentence.

Laura Harris, Shawn Hatosy, Josh Hartnett, Clea DuVall, Elijah Wood, and Jordana Brewster in The Faculty (Robert Rodriguez, 1998)

Cast: Jordana Brewster, Clea DuVall, Laura Harris, Josh Hartnett, Shawn Hatosy, Elijah Wood, Salma Hayek, Famke Janssen, Piper Laurie, Christopher McDonald, Bebe Neuwirth, Robert Patrick, Usher, Jon Stewart, Daniel von Bargen. Screenplay: Kevin Williamson, David Wechter, Bruce Kimmel. Cinematography: Enrique Chediak. Production design: Cary White. Film editing: Robert Rodriguez. Music: Marco Beltrami.

Two premises are key to The Faculty: that adolescents see adults in authority as alien figures, and that high school is an instrument for instilling social conformity. The former has been the stuff of movies since Rebel Without a Cause (Nicholas Ray, 1955). The latter is in evidence today in the efforts of states like Florida and Texas to remake education along conservative ideological lines. Unfortunately, Kevin Williamson's screenplay and Robert Rodriguez's direction don't take either premise seriously enough to make more than a raucous but routine sci-fi/horror movie out of the material. The result is exactly as the Criterion Channel describes it: "The Breakfast Club meets Invasion of the Body Snatchers." John Hughes's 1985 movie put a Jock, a Brain, a Criminal, a Princess, and a Basket Case together in detention and explored the interaction of disparate high school stereotypes. The Faculty's misfit crew is a little more complex: Stan (Shawn Hatosy), the Jock, wants to quit the team, and Zeke (Josh Hartnett) is both Brain and Criminal: He concocts his own drug (unfortunately called "scat") in his lab, selling it out of the trunk of his car, and he has an off-the-charts IQ. Elijah Wood's Casey is bullied the way Brains typically are in teen movies, and Clea DuVall's Stokely is more of a goth-punk rebel than a Basket Case. Jordana Brewster's Delilah is an overachieving Princess, both editor of the school newspaper and captain of the cheerleading squad. They are joined by a New Girl, Marybeth Louise Hutchinson (Laura Harris), a transfer from Atlanta to their Ohio high school who comes complete with a somewhat cloying Southern accent. If The Faculty had kept its focus steadily on this group as they uncover the fact that their teachers have been taken over by an extraterrestrial organism, the movie would have had more coherence and suspense. Instead, it opens with the revelation that something is clearly causing the teachers and the principal to go mad and murderous. The principal (Bebe Neuwirth) is attacked in her office by the coach (Robert Patrick), and when she tries to escape, her way is blocked by a teacher, Mrs. Olson (Piper Laurie), who suddenly turns from meek to menacing. After missing work for a day or so, the principal returns as if nothing had happened. Meanwhile, other teachers have been showing personality changes that begin to spread into the student body. It's not long before the movie begins to invoke the other half of its inspiration, Invasion of the Body Snatchers (Don Siegel, 1956; Philip Kaufman, 1978). Williamson, whose screenplay for Scream (1996) was full of allusions to other horror films, can't resist making the source for The Faculty explicit, so when his teenagers cite the movie themselves and use it as a guide to fighting the alien, The Faculty becomes too meta for its own good. There's enough to enjoy in the movie, including good performances by most of the cast. Hartnett is particularly good in the role of a guy who's embarrassed by his own intelligence. It's fun to see Jon Stewart, who plays a science teacher, in one of the acting performances he likes to make fun of. But when it comes to making good on its key premises and developing a real satiric edge, The Faculty has to be called a missed opportunity. 

Can we get MaryBeth Louise Hutchinson from the Scream era movie The Faculty, directed by Kevin Williamson and starring Elijah Wood, Usher, Jon Stewart, Josh Harnet, Clea DuVall, Selma Hayek and Bebe Newirth to say hi?

you caught her

Yo not me finally watching The Faculty and realizing Clea Duvall kinda looks like my ex, leading to mixed emotions and some heart ache 😭😵‍💫😵‍💫😵‍💫 fuck it though this is a Clea Duvall appreciation post now

Hnnnnnggggg be still my aching hart

(Also this movie is so wild like it has the stererotypical teen movie tropes down to "big football game" and "intro where car peels into school" almost straight out of Not Another Teen Movie that made me queasy and thankful movies aren't doing that anymore but very quickly showed smart writing and a bizzarely star studded cast? Like, Famke Jannsen, Clea Duvall (ok duh ik), Jon Stewart? Very young Josh Hartnett? Robert Patrick aka T 1000, fucking young Elijah Wood? Directed by Robert Rodriguez of both Desperado/Machete/Grindhouse fame and *mumbles under breath* spy kids stuff too... also am I wrong is that a young fucking Usher I see? Wtf lol)

THE FACULTY- 1998 ⭐️⭐️⭐️⭐️⭐️

One of my favourite 90s movies.

A group of students at Herrington high school in Ohio start to suspect something is seriously wrong with the faculty at their school.

A new species (alien) is found on the football field, and suddenly everyone is acting strange and cant get enough water. What gives?

Thats exactly what they aim to find out.

What makes The Faculty great?

Its a very fun blend of horror, thriller and scifi. Although the films main influence is "Invasion of the body snatchers", many other films are referenced.

The Scene where they all do Zekes homemade drug "Scat" is a reference to the blood test scene in The Thing.

As with pretty much any movie that came out in the late 90s, Scream had a big influence on it.

The script for The Faculty had been kicking around for a while with no buyer. After the success of Scream, Mirimax bought it and hired Scream writer Kevin Williamson to do a rewrite.

Williamson was originally also going to direct but turned it down to direct "Teaching Mrs Tingle", the role of director then went to Robert Rodriquez.

The music for The Faculty is also done by Marco Beltrami who did the soundtrack for Scream.

The Faculty grossed 63 million dollars on a 15 million dollar budget

The Faculty is a very light hearted and fun movie. The opening ten minutes at the high school set this up. Theres like five fights in a row its hilarious. Lots of sharp and funny dialogue in the film.

On this rewatch i was particularly entertained by the recurring couple that are constantly fighting each other (until they get taken over).

The guy is played by Scary Movie and Meet the Parents actor Jon Abrahams.

The villain in this movie is a queen alien who came to earth to control humans and take over as her planet started to die. So the fact anyone can be taken over leads to a lot of good moments and intrigue about who is still human. My favourite out of the faculty in the film is the Coach played by Robert Patrick. Hes so fucking funny in this film, just the way he stares at people cracks me up.

The strongest part of the film for me is the excellent cast and great main characters.

Josh Hartnett is great as Zeke, a very smart guy whos too busy selling porn tapes and drugs to pay attention in school.

MaryBeth, a real sweetheart who is new in school.

Elijah Wood as Casey, the school nerd who is the first to suspect somethings wrong.

Jordana Brewster as Delilah. Head Cheerleader and grade A bitch, (actually she can be cool sometimes). Charisma Carpenter was offered the role of Delilah but thought it was too close to her role of Cordelia on Buffy so turned it down.

Shawn Hatosy is also good as Stan.

Love the couples that emerge in this film. An odd or unlikely couple in a film when done right is always nice to see. This film does it three times with Zeke and Marybeth, Casey and Delilah and Stan and Stokely. And it works!

Saving the best for last. My favourite part of this film is Stokely played by Clea Duvall. Always been my favourite character in this film and one of my favourite movie goths of all time.

Stokely is smart, resourceful and did i mention shes a hot goth? Give me a break!

After this very enjoyable rewatch of The Faculty id like to officially induct Clea Duvall into the jimsmovieworld hall of fame.

a fun fact is that all eight episodes of high school directed by clea duvall based on the memoir high school by sara quin and tegan quin are now available to watch for free. just a little tidbit of information that i am sharing for no particular reason :)

Happiest Season directed by Clea DuVall 🌈🎄🎁❄️

Exclusive Interview: Clea DuVall & Laura Kittrell on adapting Tegan & Sara's queer coming-of-age memoir High School

Exclusive Interview: Clea DuVall & Laura Kittrell on adapting Tegan & Sara’s queer coming-of-age memoir High School

When Clea DuVall read an early version of High School, Tegan and Sara Quin’s bestselling memoir about their teenage experiences, growing up as musically gifted queer twins in 90s suburban Canada, the actor and filmmaker immediately knew that she wanted to bring their book to the screen. As well as directing several episodes of the resulting television adaptation, which had its world premiere at…

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