The Dangerous Lives of Altar Boys (Peter Care) 2002
It’s unfortunate that the excitement caused by the
opening credits of The Dangerous Lives of Altar Boys, Peter Care’s
directorial debut, might also be the film’s peak. Showing the imaginary
transformation of the titular characters into superheroes by animating one of
their comic-inspired sketchbooks, it promises more growth and transformation in
them than the film is ultimately able to deliver. What we do get is a rather
adequately conceived coming of age tale that really doesn’t provide much in
the way of thrills or observation. Dangerous is one of those frustrating
exercises that work better in individual scenes than as a cohesive whole. The
audience keeps hoping that one moment’s revelation might build to more
emotional understanding later, but most of the movie’s surprises seem
calculated only to shock us, instead of attempting to lead us toward a better
understanding of what it is that makes the trouble kids at the center of the
movie tick.
Everything about the film seems to lack the focus that
would make it tick, however, so this isn’t entirely surprising. There’s tons
of religious symbolism, and the nun that antagonizes the boys most ferociously
(Jodie Foster) has a Buñuelian wooden leg, which seems to suggest we’re
supposed to see this misfits as victims of a society that doesn’t understand
them, but they’re really pretty boring, as far as kids go, and they seem to
have themselves to blame for the vast majority of their problems. They’re
interested in sex, comic books, and mischief, which places them in the a
majority with the rest of the nation’s teen boy population, so to suggest
they’re societal outcasts (or worse yet Christ figures – no amount of
religious symbolism can make me buy that…) is fairly absurd. It doesn’t help
much that the majority of their dialogue features them spouting insights or
witticisms that seem far above them.
The animated sequences, which initially seem to promise
some sort of differentiation between this and every other teen drama, end up
only supplying the film with even more heavy-handed metaphors. It’s not a
total washout, however. There’s a clever scene in which a chain-smoking priest
(Vincent D’Onofrio) lectures a questioning teen about the necessity to
overcome physical temptation, and there’s also a good turn by Jena Malone, who
must be every angst-ridden teen boy’s wet dream by now. She’s better here
than she was in Donnie Darko, in which she played a remarkably similar
character, if for no other reason than because she has more of a character to
play this time out. Unfortunately, none of the boys that fill out the rest of
the cast of Altar Boys exhibit anywhere near the oddball charm that Jake
Gyllenhall did as Donnie. While it’s true that there’s little about Altar
Boys that’s inept, there’s even less about it that’s genuinely
interesting.