CHUCK AND BUCK

A Case of Arrested Development

Content -4
Quality
None Light Moderate Heavy
Language        
Violence        
Sex        
Nudity        

Starring: Mike White, Chris Weitz, Lupe
Ontiveros, Beth Colt, & Paul
Weitz

Genre: Black Comedy

Audience: Adults

Rating: R

Runtime: 95 minutes

Distributor: Artisan Entertainment

Director: Miguel Arteta

Executive Producer: Jason Kliot & Joana Vicente

Producer: Matthew Greenfield

Writer: Mike White

Address Comments To:

Mark Curcio, CEO
Artisan Entertainment
2700 Colorado Avenue, 2nd Floor
Santa Monica, CA 90404
Phone: (310) 449-9200
Fax: (310) 255-3920
Webpage: www.artisanent.com

Content:

(PaPa, HoHoHo, LL, SS, NN, A, D, MMM) Pagan worldview with strong homosexual content & behavior; 41 mostly strong obscenities, 9 profanities & some crude sexual language; boy hurts hand off-screen in minor firecracker accident & story suggests possibility of possible sexual assaults occurring; implied heterosexual fornication, implied homosexual sodomy, strong homosexual kissing, childlike adult gropes other men inappropriately, voyeurism, & several references to homosexual sodomy, twice by using strong foul language; upper male nudity in implied homosexual sodomy scenes & nude heterosexual groping under bedcovers; alcohol use; smoking; and, voyeurism, childlike man stalks boyhood friend, troubled man makes phone calls to other man’s house but hangs up if fiance answers, engaged heterosexual couple lives together, & woman says sexual experimentation by children with each other is “normal,” a despicable idea deserving strong condemnation.

Summary:

In CHUCK AND BUCK, a childlike man named Buck suffers from a case of arrested development and still longs for his childhood friend Chuck, who is marrying Carilyn. An abhorrent, creepy movie, CHUCK AND BUCK includes strong foul language, implied homosexual sodomy and images of voyeurism, stalking and homosexual kissing.

Review:

It used to be that only arty, “avant garde” “experimental” movies pushed the envelope when it came to depicting sexual perversion. Since the 1960s (and probably before that) a group of feature-length movies, considered part of the “independent film movement,” have been doing so as well. Regrettably, “independent” movies depicting sexual perversion have now become mainstream, even sometimes gaining Oscar® nominations. Among the perversions these movies push are a wide array of homosexual practices, practices which the God of the Bible clearly, and strongly, condemns. Such practices began to be pushed by radical Marxists on college campuses in the late 1970s and early 1980s, including influential Marxists in the Radio-TV-Film Department at Northwestern University in Chicago, Ill. and elsewhere. They are now accepted practices among the liberals in Hollywood and in major American newsrooms.

Perhaps the latest perversion to reach the mainstream is homosexual sex among children. A new “independent” movie called CHUCK AND BUCK is the latest movie to explore this despicable, degrading trend.

In the story, a childlike man named Buck suffers from a case of arrested development. He still lives with his mother in a room filled with toys and photos of his childhood friend Chuck, who long ago moved to Southern California. When his mother suddenly dies, Chuck, now calling himself Charles, comes to the funeral. Buck jumps at the chance to visit his friend when Chuck’s fiancée, Carilyn, invites Buck to come for a visit. Buck, it seems, has other things on his mind than just coming to visit, including, the movie reveals, re-establishing the sexually active homosexual relationship he and Chuck had as young children.

Buck starts stalking Chuck at the building where he now works as a record producer. He even tries to grope Chuck’s pants at a party that Chuck and Carilyn give at their house. Chuck finally becomes aware of Buck’s evil intentions and rebukes Buck. When Chuck, and even the naïve Carilyn, start trying to avoid creepy Buck entirely, Buck secretly spies on them, even while they’re making love in their bedroom.

Eventually, Buck becomes interested in the children’s theater across the street from Chuck’s office, but not in the way viewers might fear. Buck decides to write a fairytale play where two male characters, Hank and Frank, encounter a wicked witch who poisons one of them to tear them apart. Buck even gets the house manager, a Latino lady named Beverly, to help him put on the play. Buck uses Carilyn to shame Chuck into seeing the play, which reveals Buck’s “homoerotic” feelings for Chuck.

CHUCK AND BUCK develops rather slowly, making its 94-minute running time seem longer than it really is. There’s also nothing particularly special about the way it is directed, other than the recurring use of a gay (in the proper sense of that term) children’s song, which, along with screenwriter Mike White’s excellent performance as the vacant, but intense, Buck, adds to the movie’s creepy tone. As for the rest of the cast, the acting in this movie, contrary to some critical reports, seems surprisingly bland.

In the movie’s abrupt ending, Buck apparently becomes happily resigned to his fate of life without his buddy, Chuck, and Chuck actually marries Carilyn in a happy scene of wedded bliss. Even so, however, the nature of the language, subject matter and sexual content in CHUCK AND BUCK makes for an abhorrent, creepy time at the movies. Equally contemptible is an offhand remark made by Carilyn in the movie, in which she tells Buck that sexual experimentation by children with each other is “normal,” even though most people grow out of it. This despicable idea reveals the spiritual and moral blindness that has become such a strong part not only of the independent film world but also of mainstream society. For Carilyn seems to be the most sympathetic character in the movie, meaning that her words in the script carry an extra weight for the filmmakers.

It is time to go on a spirited campaign of rejection toward such false notions, even though CHUCK AND BUCK and other movies like it are getting some rave reviews from corrupt people within America’s media elite. That might not be the most “tolerant” thing to do in today’s politically correct, anti-Christian, world, but it’s the right thing to do.

In Brief:

In CHUCK AND BUCK, a childlike man named Buck suffers from a case of arrested development. He still lives with his mother in a room filled with toys and photos of his childhood friend Chuck, who long ago moved to Southern California. When his mother suddenly dies, Chuck, now calling himself Charles, comes to the funeral. Buck jumps at the chance to visit his friend when Chuck’s fiancée, Carilyn, invites Buck to come for a visit. Buck, however, has other things on his mind than just coming to visit, including re-establishing the sexually active homosexual relationship he and Chuck had as young children.

CHUCK AND BUCK develops rather slowly, but the movie’s abrupt ending, Buck apparently becomes happily resigned to his fate of a life without Chuck, and Chuck marries Carilyn. Even so, however, the nature of the language, subject matter and sexual content in CHUCK AND BUCK makes for an abhorrent, creepy time at the movies. CHUCK AND BUCK includes strong foul language, implied homosexual sodomy and images of voyeurism, stalking and homosexual kissing. The movie also suggests that sexual experimentation by children is “normal,” a despicable idea deserving strong condemnation