Cecil B. Demented (2000) User Reviews

Watch Out for Those "Genre Specific" Audiences

[aimless-46 · 7/10 · 6 May 2005]

Any film with Alicia Witt and Maggie Gyllenhaal has very good things going for it visually. And although a little weird for mainstream audiences, "Cecil B. DeMented is a very entertaining film. Imagine a spoof about the American film industry and American movie audiences, packaged as a cross between "Dr. Strangelove" and "State and Main".

It is after all a John Waters film, and a film set in his hometown of Baltimore. Which means the jokes will be hit-and-miss, with many best appreciated by film industry insiders and Baltimore natives. But the obvious fun the cast has playing their out-there characters is infectious. Melanie Griffith (Tippi Hedren's daughter) has a ball tweaking her diva image as she plays an aging star gradually won over to the cause of her kidnappers (insert Patti Hearst here who actually has a small part in the picture). Alicia Witt gives her best ever performance as the delectable porn star turned revolutionary. The best scene is when she and her fellow film revolutionaries hide out at a porn theater showing "Rear Entry", an anal epic co-starring Witt and a randy gerbil.

Stephen Dorff, before he went insane and got involved with Pamela (slug) Anderson, does a good job as the title character. But watch closely for an absolutely glowing performance by Gyllenhaal. She is something special with lines like: "I haven't had this much fun since my last livestock mutilation!"

Worth watching if you have a sense of humor, even better if you are demented.

A wildly satirical look at mainstream and underground cinema

[mattymatt4ever · 7/10 · 30 April 2001]

I haven't seen enough John Waters movies to make a comparison to this one, so I can't tell if this was his most impressive work or not. But impressive, it is. I can see that Waters has a keen eye for satire. He does a fine job at mocking both underground and mainstream cinema, without being too exaggerated. He never goes over the top. Some of the scenes may be a little less than satisfying, the comedy may sag at times and there are very few actual "laugh out loud" gags--but at least Waters doesn't overdo the comedy to the point where it's sickening. Sure, he has a quirky sense of style that doesn't have a worldwide appeal. There is a scene in the movie involving a porn star and a gerbil (use your imagination). However, what Waters has is edge with taste. None of this mindless, gross-out crap we often spot in recent years; his stuff has intelligence.

What's great about this movie is its sense of irony. Stephen Dorff is perfectly cast as the emotionless, soul-less cult director Cecil B. Demented. The great thing about his performance--and Waters mentions this too--is he blurts out the most blatant, silly ideas and he totally plays it straight. He's serious about his cinematic deeds, no matter how far-fetched and stupid they sound. The movie is full of quirky characters. One quote that I will always remember is by Adrian Greenier, who plays the bong-toking crew member, when he's talking to Melanie Griffith's character. He offers her a hit from his crackpipe. She refuses, and he tells her, "I used to have all sorts of problems. Now it's just drugs. It's given my life a real focus!"

The climax is pretty...well...snappy. Unique but snappy. And I think Waters could've come up with something better. I don't know what, I just felt it was missing something.

"Cecil B. Demented" is wild, original and often funny. And after seeing this movie, I'm anxious to check out Waters' earlier work. On the DVD, there is a pretty good commentary by the director. He rambles on at times, but it's often pretty insightful. It's also interesting to find out "There is no extra in a John Waters movie." He incorporates the same cast members into every one of his movies.

My score: 7 (out of 10)

This movie is a 10...but,

[WordtwisterMN · 7/10 · 14 February 2005]

It's not for the average movie fan. Cecil B. Demented is full of hidden clichés and retro-references that appeals to the warped viewer. The viewer who only sees movies with their 'significant other' will not appreciate this artistic production. The characters are almost toonish, but yet they are real. They are people you may have known, or at least viewed on the internet..eh. The colors are vivid as is the imagination. Waters leaves you wondering what he can think of next! Honey Whitlock is seductive, mature and yet willing and submissive to the abductor's plot. This does bring up memories of the Patricia Hearst kidnapping which appropriately she is in the movie. Hearst plays the role of Fidget's mother. And most of us guys can relate to Fidget. If you are a fan of underground movies, you will love this one!! Be careful who you refer this movie to, or they may put you in their prayers! It could polarize your next family get-together!

It's just a film, and it's a funny one!

[castansfield · 1 May 2004]

Last night, I saw Cecil B. DeMented at a special screening hosted by John Waters, who took questions after the fact. After taking into account my own impressions of the movie, John Waters' apparent impressions, and the comments on this site, I really have to conclude that most of the commentors don't quite get the point. This movie was not in any sense meant to be taken seriously, and yet the detractors label it a hypocritical satire while the fans read it as an honest indictment of Hollywood- in both cases, the commentors are barking up the wrong tree, in my opinion. If Cecil B. Demented is to be taken as a genuine satire, it is clearly meant as a satire of both sides of the argument. Waters does not take sides in this movie- he portrays Cecil and his Sprocket Holes as pretentious loons and cultists, and the "Hollywood (actually Baltimore) Filmmaking Establishment" as tasteless middlebrow panderers. It is obvious in these portrayals that Waters thinks they're ALL pains in the ass- after all, Pauline Kael-ite auteur-lovers ARE pretentious, and Hollywood DOES turn out a lot of lousy shlock. The critic who points out that the Sprockets' tattoos "read like a list of directors kids SHOULD be watching" and who compares the love of Preminger with the dislike of Lean clearly doesn't realize that Waters is in on the contradiction. The Sprockets celebrate "art movies" as they celebrate pornography and Kung Fu flicks. It should be apparent to almost anyone that the Sprockets are no more meant to be role models for the moviegoing public than the makers of "Forrest Gump II" are. First and foremost, the movie is meant to be funny, and it succeeds admirably on that count. True, the humor is sometimes overly crude and often falls flat, but any movie with memorable dialogue such as "Before I was a drug addict, I had all KINDS of problems- now I just have one!" can't be considered bad. Waters seems to consider this film, like most of his others, a lark- a reflection of his own sense of humor. When asked his inspiration, Waters pretty much admits that he just thought it would be fun to suppose what would happen if the readers of Film Threat magazine really took their anger to the next level. When asked if Cecil is a reflection of himself, Waters is quick to discredit the notion, pointing out that Cecil has utterly no sense of humor. In fact, the main target Waters skewers in this film are people who take things too seriously. Judging from the other comments on this page, those humorless people have trouble recognizing themselves in the film.

A film that certainly lives up to its name

[Agent10 · 7/10 · 13 August 2002]

Who thought anarchy would be so cool. Fed up with the system, Cecil B. Demented, wonderfully played by Stephen Dorff, leads his rag-tag gang of miscreants to make the ultimate underground film. Melanie Griffith is great as the washed up movie star, considering the parallels between her character and real life. John Waters created a film worthy of his early career, something that is both shocking and enlightening. I remember the time he went on Politically Incorrect, speaking of the ills of modern cinema and how film in general has become blasé and dull. A good film for film buffs, this is one of those movies that wants to destroy the very foundation it was built upon in the most crude and visceral way possible.

Like a lot of John Waters movies, it's very flawed but interesting

[Jeremy_Urquhart · 6/10 · 29 September 2021]

I started off enjoying this quite a lot but by the end, my feelings were more mixed.

To get some negatives out of the way first, it felt a little juvenile and simplistic, almost like it was written by a teenager (but a really smart one), not a guy in his 50s. Kind of neglects the idea that people can enjoy mainstream movies and weird stuff. I know Waters isn't really the most subtle director, but making things so black and white irked me towards the end.

Also there are things like all the main characters just getting away from the police halfway through the movie? They're shown surrounded, there's a cut, and then they're all off driving away?

And it's one of those movies that simplifies the filmmaking process in a surprisingly dumbed down way (sound? Editors? Shooting more than three or four scenes?) but it becomes apparent that maybe Cecil wasn't as concerned about releasing the movie, so maybe that's a dumb criticism.

Things in this are good though! It's got a great cast who are all utilised well (Adrian Grenier is even good!), the premise is a lot of fun, and I really enjoyed the first hour or so. And I do agree with many of the things Waters is trying to say- I just think it got a little on the nose towards the end.

Give it props for trying, but tries too hard

[LBytes · 7/10 · 17 July 2002]

I stumbled onto this film on Showtime and since it had just started I watched it through. Knowing very little about it at the time the first impression was that it was a goofy 'B' grade comedy. It got a little darker than that but not much. I almost quit watching after the completely contrived situations got a little old, but I did like some of the characterizations even if they were mostly overdone, and some of those contrived situations were funny in any case. The film ended with much the same kind of goofiness that it began with. I give it a 7 for being different but the sort of movie I'd only watch one time.

One-joke premise, painfully bad.

[Figgiedan · 3/10 · 9 April 2001]

I really enjoy John Waters movies. They're trash, but usually very good trash - he seems to wink at the audience and has made a career on going against the norm and using the ugliest, vilest people as the "stars" of each of his films. Cecil B Demented was really really lousy. I don't think I got more than half a laugh out of this movie. It was trying to satirize and show how bad Hollywood has been to independent cinema but it was just ridiculous. Dorff was ok but Melanie Griffith is just a terrible actress. I was surprised; it seems even John Waters can go so far as to coast through a movie. To me, all that he ended up making was a Hollywood movie for a quick buck, the same thing he seemed to be complaining about all thru the film. Go rent any other Waters movie. Polyester, Hairspray, Pink Flamingos, Cry Baby, Desparate Living. At least you will see Waters at his best worst. Not his worst worst. 3 out of 10 - an F.

Unstill Waters

[dfranzen70 · 8/10 · 7 February 2001]

Many of you have probably never heard of this film, which stars Stephen Dorff as a rebel filmmaker who goes to some interesting extremes to get his movie made. The film is directed by noted underground director John Waters, and Waters tosses in scores of Hollywood in-jokes (check out the marquee during the opening credits!). The reason more people didn't see this in the theater is simply that it's so... so... different. It's highly unique, and therefore less likely to appeal to a mass audience.

But you do need to see it, really! Cecil B. Demented (Dorff) is the leader of a motley band of would-be film aficionados who kidnap a Hollywood actress (Melanie Griffith) at the premiere of her latest film. Demented's idea is to make a movie using guerrilla tactics, making the statement that studio films are Bad and independent films are Good. Waters' point is that the studio system is such that any movie coming out of it fits into a formula to make it more palatable to the masses - that is, that the movies you see in the multiplexes are dumbed down for your viewing pleasure.

Demented tries to achieve his vision by staging protests of a sort at movie houses, film screenings, speeches, and even a drive-in. His entourage includes a Satanist, a former porn star, and many other social and sexual deviants. There's hardly a taboo subject Waters doesn't cover here! And to be sure, the character of Demented himself never changes, which is in itself a welcome respite. Had this been a Hollywood film, you might have seen the nefarious filmmaker suddenly see the error of his ways in the final three minutes. I won't give anything away to you, folks, but rest assured that the characters remain true to themselves, except for Griffith's character. She changes, but it's a subtle, honest change.

There are surprises everywhere you turn, but let me warn you: this is absolutely not a film for everyone. There is plenty here to offend even the most open of minds. It is at once a unique, refreshing, and exciting film. It never even rests to catch its breath - it doesn't want the audience to fall back into its Hollywoodized lull.

Major kudos for screenwriting go to Waters and to his amazing cast. If you're into offbeat films, please watch this.

Cecil B Demented

[Scarecrow-88 · 7/10 · 11 March 2007]

Hollywood's aging star Honey Whitlock(Melanie Griffith, who seems like she was born to star in a John Waters flick)is kidnapped by "cinema terrorists" with director Cecil B Demented(Stephen Dorff)head honcho behind the whole ordeal. Honey is to star in his underground film which is shot on the streets completely devoid of the studio system. The whole point behind the anarchy of Demented and his group is to pointedly bitch-slap the establishment in the face, by any means necessary. Unfortunately Baltimore will be the target of their crusade and Honey becomes a cult hero as a media circus develops. The police make it their mission to bring down Demented. The crew of this film range from a porn star(who claims she was molested by her entire family underneath the Christmas tree)to a Satanist(who gulps down goat urine), but they are extreme fans of cinema and believe the system Hollywood is backing needs a revolution. Demented's film is aimed as the start of the evolution of a new artform. Soon violence erupts as a result of his raw film-making style(they attack a theater showing the director's cut of PATCH ADAMS;and a stand-off with police during a riot of a Maryland Film Commission luncheon). As the film continues, Honey has a change of heart regarding her captors once she realizes that Cecil is behind her new rise in popularity.

Grows more and more absurd as the Waters' film continues(Honey leaps off a building landing on her feet below;Honey sets her hair on fire for Cecil)such as Demented and company raiding the set of a FORREST GUMP sequel starring Kevin Nealon(!)resulting in a gunfight with teamsters! There's an inspired chase into a porno theater where Cherish(Alicia Witt)gets seats for her group in a film starring her as the remaining teamsters find themselves against an army of pervs! There's even a chase into an action flick where Demented calls on the fans of the theater to assist them against a pack of spiteful mothers from a grocery store(!) who hate what the cinema terrorists are doing to their youth. The film is as demented as the title character who is willing to burn himself alive in a wheelchair for his film!

Amateur night at the movies...Griffith deserved her "Razzie" award...

[Doylenf · 4/10 · 25 December 2006]

At the start of CECIL B. DeMENTED, we see a cluster of close-ups showing teens posing as ushers, doormen and whatever, getting ready to celebrate the premiere of a new film starring Honey Whitlock (MELANIE GRIFFITH), an overage Hollywood diva making a personal appearance to promote her new flick. All of them are treating the premiere as a countdown to some sort of disastrous event because they're all in on the kidnapping plan.

Well, the disastrous event does happen--but it's this John Waters film that scores big in that department! Just awful. All the dialog, all the sight gags, all the performances are just short of amateurish, so painfully bad that I forced myself to pay attention until the final out of control ending, by which time director Waters seemed to have lost all control of his project, his cast and his story.

Ironically, the theme of this "comedy" is supposed to be "down with mainstream film-making" as the insane Cecil B. DeMented intends to kidnap movie star Griffith so that he can use her as the drawing card on his own underground film where only the first take is ever used because he's a seeker of "the truth" and pure vision. But Water's film, while making fun of mainstream trash (and sometimes rightfully so), is itself an example of less than mediocre craftsmanship, crude, tasteless, and full of puerile humor, the kind that grosses some people out, as well as an unhealthy dose of vulgarity.

It's when director DeMented (played by STEPHEN DORFF) takes his film-making crew on the road into the real world that all hell breaks loose. None of the cast has anything more than paper thin characterizations to worry about so they appear to be having a good time as they wreak havoc everywhere. The laughs are scant and the film itself just keeps getting worse as it wobbles on and on toward what is supposed to be an exciting finale.

Summing up: Lots of R-rated stuff. Keep the kiddies home for this one.

Strictly amateur night material which had me wondering whether MELANIE GRIFFITH was so hard up that she had to take part in such an enormous mess. She fully deserved her "Razzie" Award for Worst Actress of the Year. Too bad someone didn't do her a favor and really kidnap her to prevent her from showing up at the studio!

I felt like I was watching an Ed Wood film, except it wasn't in glorious B&W!

"I'm Ready For My Close-up, Mr. Demented..."

[jhclues · 8/10 · 2 April 2001]

Mainstream movies and the studio system, as well as independent films and filmmakers, are sliced, diced, hammered and shredded by writer/director John Waters in his biting and funny satire, `Cecil B. Demented,' starring Stephen Dorff and Melanie Griffith. Railing against convention and adamant in his quest, a young man who wants to make a statement about bad movies, the way they're made, those who participate in these cinematic transgressions and those who flock to theaters to see the final product, dubs himself `Cecil B. Demented' and sets out to make a `real' indie film. Toward this end, he assembles a group of like-thinking would-be filmmakers and forms them into a lethal band of cinematic guerrillas he names the `Sprocket Holes,' and has them take jobs at and infiltrate a theater in Baltimore that is about to hold a lavish premiere of a new movie featuring Hollywood star Honey Whitlock (Griffith). Honey herself is scheduled to attend, and Demented's plan is to kidnap her and force her to star in his film, which will be shot `ambush' style, intruding upon real people and situations, rolling film and getting it in the can before anyone knows what happened. He hopes. Dedicated to making the kind of movie that should be made, the Sprocket Holes are not only willing to die for their art, but go so far as to take a vow to remain chaste until the film is completed.

`Demented' is by turns outrageous, violent and hilarious, and-- some would say, subjectively speaking-- that Waters pushes the envelope of good taste to the limit. But then again, he usually does, and it usually works. Anyone who knows John Waters' movies knows what to expect (indeed, anticipate), but those who come to his work unawares may be in for a jaw-dropping eye opener. When satire is done well it can cut both ways; this one is, and it does. Movies made by the studios for no other purpose than to make a buck, and which contain no artistic merit whatsoever are the obvious target of Waters' barrage, but so are the `auteur,' legends-in-their-own-minds `indie' filmmakers with a penchant for taking themselves too seriously. Along the way, Waters is having a laugh at himself, even as he laughs along with his fellow filmmakers at both ends of the spectrum, those at whom his shots are being fired.

As Demented, Dorff takes a somewhat over-the-top and highly energized approach to the character, in a performance punctuated with exclamation points. But he leaves no doubt in the mind of the viewer that he IS Cecil B. Demented. And you know that come what may, there's going to be no stopping him. Griffith, meanwhile, adds a nice touch as Honey, a character through whom we see all the transparencies of a Hollywood `star,' whose career has never been hampered by bad acting. Inured of a caustic and ego driven personality, she nevertheless manages to garner some sympathy as the story moves along and her vulnerable side is exposed. Griffith is perfect for the part, which is something of a good natured nudge in the ribs of her own image. As intended, it's just another instance of Waters pulling aside the curtain to reveal what is really behind the facade.

In a supporting role, Alicia Witt gives a memorable performance as Cherish, the porn star who sees her co-starring role with Honey in Demented's film as a way of legitimizing her career, while at the same time thumbing her nose at the industry that has for so long shunned her `talents.' The additional supporting cast includes Adrian Grenier (Lyle), Larry Gilliard Jr. (Lewis), Maggie Gyllenhaal (Raven), Jack Noseworthy (Rodney), Michael Shannon (Petie), Harriet Dodge (Dinah), Zenzele Uzoma (Chardonnay), Eric M. Barry (Fidget), Erika Lynn Rupli (Pam), Mink Stole (Mrs. Mallory), Patty Hearst (Fidget's Mother), Ricki Lake (Libby) and Kevin Nealon (Himself). A film that will definitely get your attention, `Cecil B. Demented' sets pretentiousness on it's ear by saying what most people think but rarely say due to the constraints of social protocol. Waters crosses some lines and doesn't pull any punches with this one, which may make it a bit hard for some to take; but movie lovers in general, and aficionados of independent film especially, should get a real kick out of it. It may be a bit skewed, but it's all a part of the magic of the movies. I rate this one 8/10.

Wreck And Film

[bkoganbing · 7/10 · 5 May 2009]

If it wasn't for Johnny Depp, I'd have to say that Stephen Dorff was the actor inclined towards the most quirky roles. The fact he's not a major star in the same league as Depp is, probably means he's got more freedom to choose his projects. Or maybe he gets the stuff that Depp turns down.

I think only Johnny Depp could have done the part of rogue film director Cecil B. Demented for John Waters other than Dorff. In this dark comedy, Waters makes quite a statement about the conformity of the major league film industry. It's driven Dorff quite insane in fact.

Dorff as Cecil B. Demented has collected quite a crew of misfits around him in their scheme to make the ultimate cinema verite. In a bow to tradition though they need a name star, so Dorff and his crew capture a visiting Hollywood celebrity to Baltimore in Melanie Griffith to star in their production.

The good city fathers of Baltimore have gone to great lengths to convince film people that Baltimore and the state of Maryland in general is a hospitable climate for location shooting. That is something Dorff is determined to wreck and film.

Anyone who is expecting the rollicking and unconventional, but essentially good natured product that Waters turns out like CryBaby, Hairspray, or Pecker. Cecil B. DeMented has quite the edge to it. Still it provides Stephen Dorff with one meaty role and a large diet of good tasting furniture to chew. But it's that kind of part.

this is bad.....

[georg.heimberger · 1/10 · 24 October 2000]

Just been to the local Film Festival "Viennale" to see this movie and it was the most boring and uninteresting film I have seen on this festival so far. The idea of a group of some wanna´- be film makers doing some kind of independent - attack seemed quite nice at first. John Waters makes fun of big blockbuster films throughout the whole movie which would be fun if he´d be able to at least reach these movies´s levels. But no, the humor is absolutely flat and even more levelless than films like scary movie. His characters use names like Almodóvar, Warhol, Tarantino, Lee,... which they are not worthy of. And why does Melanie Griffith start to sympathize with these people so fast ? There is no explanation. The Helsinki Syndrome ? Characters are weak and too many. All we get to know of these people are one-liners to explain their characters. One of them thinks satan is cool, the next one takes drugs and thinks it´s super and another one has worried parents. There´s not much more to them. Even the plot is boring because we get to see the same scene of mad people taking over cinemas and film productions over and over again. This is absolutely a shame for the wonderful genre of independent movies and I truly hope it won´t run under this category.

a treat for movie lovers

[Buddy-51 · 17 June 2001]

All you `movie lovers' out there who are the genuine article, prepare to laugh – HARD! In `Cecil B. Demented,' famed off-Hollywood filmmaker John Waters has turned his attention to a subject that is obviously near and dear to his heart, and, in fact, near and dear to the hearts of all true lovers of movies everywhere. In his latest wild comedy, he has tackled the seemingly irreconcilable conflict that exists between the worlds of big budget mainstream Hollywood moviemaking and low budget, renegade independent cinema - a conflict that the latter always seems unfairly and unfailingly to lose. Waters certainly knows whereof he speaks - he, himself of course, being one of the great pioneers and icons of the underground film movement. He launched his directorial career and made a name for himself in independent film circles way back in the 1970's with such crude landmark underground classics as `Pink Flamingoes' and `Female Trouble.' Since that time, he has himself received some heat from diehard indie film purists who have considered him something of a sellout for producing offbeat but decidedly more `commercial' works like `Hair Spray,' `Cry Baby' and `Serial Mom, ` often with big name actors and actresses in starring roles. Yet, even with this more polished sheen, Waters' films have always retained that quality of outrageousness and that willingness to push the envelope that distinguish his vision from that of more mainstream filmmakers.

`Cecil B. Demented' is a particularly funny film for those who share Waters' outrage at the mass audience's seeming preference for the bland unoriginality of much of the product churned out by the cinema factory known as Hollywood and its seeming dismissal of the cutting edge experimentation and originality that define so much of independent filmmaking. And he lambastes a money-hungry industry that is all too eager and willing to supply the public with the big budget, special effects-ridden pablum it seems to crave. Or is it – in classic chicken-or-egg fashion – really the STUDIOS that condition the audience into thinking that those are the films that they want to spend their hard earned money to see? At any rate, Waters' clever parody follows a Patty Hearst-type storyline (as usual, Patty Hearst herself appears in the film) in which a group of bizarre, renegade independent filmmakers kidnap a Hollywood starlet (Melanie Griffith at her most likable) then force her to star in their reality-based new film which involves them filming themselves as they storm, guns blazing, into theatres that are showing putrid mainstream films, all in a righteous effort to bring commercial cinema to its knees.

`Cecil B. Demented' provides a rapid-fire onslaught of clever inside jokes lampooning both mainstream and independent filmmaking. Although his heart obviously lies with the latter, Waters also can remain objective enough to skewer some of the self-righteous pretentiousness that occasionally creeps into that type of filmmaking as well (he even shows that, as a director, he is damn good at staging one of those slick car chases he professes to abhor). Yet, as this clever parody plays itself out, most of us watching the film can't help but nod our heads in amused agreement with much of what he is showing us. In addition to the jokes themselves, Waters provides amusement with his sharply delineated comic characters each of whom satirizes a different aspect of the renegade subculture. We have, for instance, the maniacal, fanatical, single-minded director (delightfully played by Stephen Dorff) who sees himself as nothing less than the messiah sent to destroy commercial filmmaking and erect a cinema based on iconoclasm and originality in its place. We have all his devoted followers who run the gamut from Satanists to porn stars to punk rockers to straight hairdressers to gay truck drivers etc. Without question, much of the zestful energy that propels this madcap film forward comes from the dead-on performances of the actors and actresses in these roles.

Energy and originality are in fact the hallmarks of this film from start to finish. `Cecil B. Demented' may not be Waters at his most outrageous, but it provides loads of pleasure for film lovers who have been thinking many of the same thoughts that only Waters, in his uniquely humorous way, could effectively get across. Real movie lovers of the world unite! Cecil B. Demented is here to save the day!

Partial credit...

[FunnyMann · 6/10 · 29 April 2002]

...is what I give this film. John Waters scores points for trying to skewer Hollywood and toss it on the grill. But, he loses points for sometimes choosing "outrageous" over clever. Some scenes called for an Exacto knife, but Waters used a paint cannon.

Two more thoughts here:

1) Either I owe Melanie Griffith an apology or she owes me one. I've long regarded the woman as anti-matter in the acting universe. After watching some of her other gems -- Cherry 2000, anyone? -- I figured she's too bad of an actress to pull off her role as a bad actress. But seeing her in this film, I realized she's either: (A) such a bad actress that she wasn't even trying to be a bad actress, or (B) a hell of a site more talented and ironic than I thought. My hunch is A, but I'll acknowledge that it could be B.

2) If you are the kind of person John Waters takes aim at in this film, you'll probably never see it. On the other hand, most Waters devotees already believe Hollywood is evil, and already pat themselves on the back for not being part of "the problem," like the film's targets. So, ultimately, what's the point?

And that, I guess, is a good way to look at this film. Not really necessary, but fun enough that it's worth your time if you find it on cable. Besides, you won't see too many like this.

Hmmm. Maybe THAT was point.

Waters' double edged satire has weak knees

[funkyfry · 7/10 · 8 October 2002]

Big budget film exploits its stars and manages to satyrize hollywood "family films" and "underground cinema" at the same time. Some nice photography but some very poor songs (especially the annoying "Demented Forever," surely one of the worst movie songs since Elvis crooned "Personality" in "Clambake"). Griffith is a star kidnapped and forced to act in low-budget director Cecil B. Demented's debut feature, to which his cinema terrorist production team is dedicated. She rises to the occasion well and Dorff also delivers the goods. Still, despite the fact that Waters is clearly also spoofing himself (through his own history as an "underground", actually just regional, filmmaker) it comes off as slightly pretentious. There just seems to be a tenor to the film that is taking itself too seriously -- I noticed that other comments on this board were taking it very seriously too.

In fact, it's a kind of tepid comedy, constantly vindictive towards films that are not like itself, and yet afraid to actually BE the kind of shocking, "underground" film it claims to be. Though it pokes fun at some deserving targets like "Patch Adams: the Director's Cut" (which I thought must be a joke when I saw this film, but has since popped up on video shelves), it is only through some shallowness in the characters' viewpoints that the film's own weaknesses are made fun of. The filmmakers who are canonized in the sequence where each member of the crew demonstrate their tattooed loyalty to some "classic" progenitor reads as if Waters was trying to write a textbook for kids on what kind of films they SHOULD be seeing -- presumably because all the hollywood stuff is crap. It kind of bothered me that Dorff's DeMented character had a tatoo of Otto Preminger on his arm and at one point a character shot a hole through a book about David Lean. Was there some kind of message, and if so, I don't see it, because Preminger's films are every bit as long and self-important as Lean's. And he doesn't get Lean's kind of realism from actors. Anyway, it just seemed like Waters was trying to have his cate and eat it too, and that doesn't add up to satire, just parody, or maybe farce.

John Waters... What the Heck?

[gavin6942 · 6/10 · 1 April 2015]

An insane independent film director (Stephen Dorff) and his renegade group of teenage filmmakers kidnap an A-list Hollywood actress (Melanie Griffith) and force her to star in their underground film.

This film has a very Troma feel (and it is interesting that Herschell Gordon Lewis was given a special shout-out but Lloyd Kaufman was not). The punk atmosphere, the strange approach to sexuality. We have an excellent early role for Maggie Gyllenhaal (who is strong here despite the film being quite weak), and a very, very early role for the vastly under-rated Michael Shannon.

Although the movie as a whole is not great, Kevin Nealon and "Gump Again" may be the best part. Between that and the terrorizing of the studio execs eating oysters, there are a few choice scenes that really make the movie memorable. Unfortunately, they are not enough to make the picture actually good.

For her role as Honey Whitlock, Griffith was rightly nominated for Worst Actress at the 2000 Golden Raspberry Awards. Despite the lukewarm response from critics, the film has attained something of a cult status since its release. This should come as no shock, since anything John Waters does at this point is likely to gain some level of cult status.

Not so demented

[PaulLondon · 5/10 · 2 March 2002]

One of John Waters' weaker films is this somewhat lifeless attack on Hollywood banality. The cast gamely go through their paces as they commit themselves to the egomaniacal Cecil B. Demented, but, there are few laughs to be had. Waters direction is defiantly flat and there is none of the joy that made his earlier films so wonderful. Still; even sub standard Waters is better than no Waters at all!

How many movies has the MPAA censored today?

[lee_eisenberg · 10/10 · 7 September 2006]

John Waters continues his trashing of "traditional" Americanism with the raucous "Cecil B. DeMented", in which an indie filmmaker (Stephen Dorff) kidnaps an air-head actress (Melanie Griffith) and makes her star in his anti-Hollywood flick in which they go around attacking anything associated with Tinseltown - especially family-oriented stuff. And the best part: he's working with a budget of zero! It's like the Patty Hearst story taken one step further (Ms. Hearst even appears in the movie).

This seems like the sort of movie that had probably been in the works for years. Regardless of anyone's opinion of "Forrest Gump" and "Patch Adams", we can likely agree that they don't need to get extended. A really funny, great movie. Also starring Mink Stole and Kevin Nealon.

Choosing the "Flintstones" sequel over a Pasolini movie. I bet that some people would do that.

Wow !! Waters' best film since Serial Mom!

[vyperman7 · 7/10 · 24 January 2001]

I just saw this movie and all I have to say is wow, what a movie. It was incredibly funny. It is supposed to be a crazy action flick, but it is hilarious, and it has a great plot. All movie fans should get a kick out of it. Action and Porno flicks are celebrated, while family films are made out to be the worst ever created. The spoof on Forrest Gump two was hilarious. Overall, a great movie.

Disappointing

[honkus · 4/10 · 20 September 2003]

This movie was recommended to me by a usually-reliable indie-film fan, so I went into this picture expecting a fun departure from the formulaic Hollywood film. I was quickly disappointed by the creeping realization that the movie, purportedly a farce satirizing Hollywood, falls into the same conventions it is desperately trying to make fun of. Tired jokes, a predictable script and gratuitous violence/ rock music made me fell stupider after having seen it. I know you posers are saying, "but that's what Waters was going for, man" but I prefer films you can walk away from having gained something, however insignificant. This painful satire left me with nothing but unrelieved boredom. Watch a David Lynch flick, leave Waters for "safely rebellious" teenagers.

Very Very Sweet

[trudgeon99 · 8/10 · 4 September 2004]

He was making fun of everyone, as the second review pointed out so well. Don't take it too seriously! I have loved Mr. Waters for a long long time, loved his book about bad taste, love his take on life, how his characters abhor the straight life, which I do too. He got a little too p.c., a little too nice there for a while, which disappointed me. But this just perked me right up.

It was nice to see Patty and Mink Stole again - I fear the day I don't see their faces any longer - it will mean that my point of reference is ancient history. Mr. Waters was in town a few years ago and I missed him BECAUSE OF MY CRUMMY JOB. Hoping I can see him one more time before the world blows up.

Out with the grotesque, in with the satires

[StevePulaski · 7/10 · 5 February 2012]

If Cecil B. Demented had been in another director's hands, besides the filth elder John Waters', it probably be an underdeveloped, dry exercise. The fact that Waters has surpassed his phase of grotesque shock films and has moved onto smarter, witty satires set in Baltimore shows that he is diverse and willing to jump into any pool even if it's a bit murky.

The film is one big kiss to the world of underground cinema, and one big diss on mainstream cinema. I can't say that I disagree with a lot of the film's views. It expresses an extreme hatred for the modern schlock we've been served every week at the movies, and how the independent films will prevail. We're introduced to Honey Whitlock (Griffith), a Hollywood A-lister who is attending her big movie premiere. She is snobby, pretentious, and very condescending to her peers. When Honey enters her premiere, seconds before the movie goes on, independent director Cecil B. Demented (played fantastically by Stephen Dorff) and his band of "kamikaze filmmakers" kidnap her and force her to star in their low budget works of art.

The first few minutes, set mostly around the premiere, feature many people involved with Demented's working as attendants and ushers at the event, when really, they are behind a very, very dangerous plot. In John Waters: This Filthy World, a movie that documents his tour across the world, Waters states that if Cecil B. Demented would've been proposed after 9/11 it would've never gotten made. I can see why. The film is a work of "film terrorism" and there are many secretly plotted acts involving violence and the deaths of innocent civilians.

Do they work? Most of the time they do. The film is honestly funny, deliciously dark, and a clever commentary on the world of low budget filmmaking. The character of Cecil B. Demented is very funny, and the role of Honey Whitlock is portrayed equally as interesting by Melanie Griffith.

Compared to other Water's feature, Cecil might be the weakest one. Pink Flamingos was unexpectedly hilarious in its ugly roots. Serial Mom was overacting at its finest, portraying suburbia like this shiny slice of heaven even when the craziness was unfolding. Cry-Baby captured the fifties era of rebellion perfectly, and I can say that Polyester was a weaker Serial Mom, yet occupying moments of its own. Cecil has the script and the direction of classic Waters, but not the admirable characters of his other pictures. It's a fun exercise, dancing to its own beat, but it isn't on par with his other works of art.

Starring: Melanie Griffith, Stephen Dorff, Alicia Witt, Adrian Grenier, Mink Stole, and Ricki Lake. Directed by: John Waters.

I'm confused as to why this film was made...

[clurge-2 · 4/10 · 31 January 2001]

I'm not big on John Waters, and I absolutely detest Melanie Griffith, but I figured that any movie that stands up against mainstream Hollywood cinema has gotta be good...right? Uh...no. To the power of ten.

I viewed this movie and thought to myself, "Geez, the story is about the overthrowing of mainstream cinema by the underground...yet this movie is exactly the same as any other teen angst film from the past twenty years!"

But then I thought, "Are they doing THAT on purpose? Is there irony in the fact that a film preaching the coolness of the underground cinema is following all of the standard Hollywood ideals and benchmarks needed to put together a movie such as this?"

Either way, the movie, in my opinion, comes off horribly. "Demented" sticks to the guns of past teen angst films by having a large central teen cast, each with specific quirks (there's the leader, the bad girl with black hair, the hussy, the nerd, and so forth) getting fed up with the "system" and revolting against stuffy grown-ups. However, Waters adds a new senseless twist...killing! That's right Teenage America! If there is something you don't like, grab a bunch of your stereotypical buddies and shoot up as many as you can!

Melanie Griffith is horrible, as usual, and Rikki Lake proves once again why she has a trash talk show and NOT a career in low-budget films. The only redeeming factor of the film is the potshots it takes at Hollywood features, like "Lake Placid" and "The Flintstones". But it's got a lot to make up for. For example, the group orgy at the drive-in where half the characters are offed while performing their sexual duties within the last five minutes (what was that all about ANYWAY??). Or how about the character of Cecil himself climbing into a wheelchair, lighting himself on fire, and "saving the day". Just complete and utter stupidity.

If you feel the need to stand up against Hollywood (like I did), and look to "Cecil B. Demented" for salvation, you'll be very disappointed. The film you thought would make up for the sins of Hollywood in the past year (see "Gone In 60 Seconds", "Hollow Man", "The Art Of War", etc.) only proves that you've once again been duped. This anti-Hollywood picture is just another bad Hollywood picture in disguise. Your money would be better wasted on "Empire Records" or any other film made in the last ten years that promotes teen unity and revolution.