LEWIS & CLARK & GEORGE ranks at the bottom of the "disaffected but cool twentysomethings hit the road for a crime 'n' sex spree" subgenre that has flourished in the 1990s.
After escaping from a Southwestern prison, illiterate lug Lewis (Salvator Zuereb) and computer hacker Clark (Dan Gunther) head for New Mexico, where a now-dead fellow convict hid a map to a Mexican gold mine. Elsewhere, George (Rose McGowan) hits the road after running out on her boyfriend and
Fred (Art La Fleur), who gave them $10,000 for drugs they never delivered. Distraught at Lewis's penchant for shooting people who annoy him, Clark sets out on his own. He gets a ride from George, who is driving a stolen car and is accompanied by a deadly snake. Not knowing that her interest is
primarily in the gold (about which she heard him and Lewis arguing), Clark falls for George when she takes him to bed. Lewis enjoys his own dalliance with trashy trailer park Mom Tammee (Paula Sorge) before catching up with Clark and George at the map site. Putting aside their differences, they
head for the mine in Mexico. Their trail is picked up by Fred, who thinks George has his money. He kidnaps her from the Mexican motel where the trio spent the night. George escapes after her snake bites Fred, and returns to a confrontation in which the suspicions of all three boil over. A shootout
leaves George as the only survivor. She finds the mine and sells it for a fortune. But as she drives away, she notices police taking note of the license of the stolen car she is still driving, just as she notices the snake she thought missing is still in the car, poised to strike her.
Obviously influenced by Greg Araki's THE DOOM GENERATION(1995), which also costarred McGowan, LEWIS & CLARK & GEORGE is a particularly irritating example of the "Indie" film, a marketing gimmick that has nothing to do with independent filmaking. Like other purveyors of the form, writer-director
Rod McCall loads up on every element thought to appeal to youthful viewers: pointless violence, anti-social attitudes, and "retro" music performed by anonymous musicians who have perfected the art of smirking audibly. (A mark of the film's desperate trendsucking is that all of the leads smoke
cigars, ostentatiously.) The video box trumpets the film's appearance at the Sundance Film Festival and drops references to "Tarantino" (no first name needed) and Hong Kong cinema. McCall certainly tries to ape those touchstones, but the strain is obvious. Pointless jumpcuts and off-kilter camera
angles are no substitute for style, and a sequence in which McGowan mimes to a recording of "Where the Boys Are" seems interminable. Costars Zuereb and Gunther (who coproduced) are at least lively on occasion, but "indie queen" McGowan's performance is limited to a perpetual pout; she's enough to
make you think kind thoughts about last year's model, Parker Posey. (Violence, nudity, sexual situations, adult situations, profanity.)
Cast & Details See all »
- Released: 1998
- Rating: R
- Review: LEWIS & CLARK & GEORGE ranks at the bottom of the "disaffected but cool twentysomethings hit the road for a crime 'n' sex spree" subgenre that has flourished in the 1990s. After escaping from a Southwestern prison, illiterate lug Lewis (Salvator Zuereb) a… (more)