7/8 #2
Free Enterprise (1998).
Mark (McCormack), publisher of "Geek" magazine and struggling screenwriter (his latest work, "Bradykiller," about a serial killer who stalks the women of the venerable television sitcom, has recently been rejected), faces the impending doom of his 30th birthday with gloomy abandon. His one solace is the midnight screening on the eve of his fourth decade of "Star Trek II: The Wrath of Khan." His partner in geekdom is Robert (Weigel), also 29, a slacker film editor who would rather hawk his computer than part with his laserdisc collection. Together, they share a mutual love of corny and classic films, comic books, and all things classic Trek. Having each had a childhood visitation by the leading actor of the series, imagine their delight when discovering William Shatner (at his hammiest best), perusing the porn section of a bookstore. Far from being famed Captain James T. Kirk, however, Mark and Robert discover that real-life Shatner is not the self-assured, fiery personality he displays on the bridge of the starship Enterprise; rather, Bill is a moderately awkward, often soused, aging actor who has few answers. In fact, his interest is piqued by the younger men's professions, for he has a pet project in need of a home: a 6-hour, one-man, rap musical of William Shakespeare's "Julius Caeser," starring himself (and his backup band: the xylophonist and the ....o player from his stint on the 1992 MTV Music Awards) and either Sharon Stone or Heather Locklear in the role of Calpurnia. Pop culture and science-fiction (not all of them Trek) references abound, geek culture gains some measure of chic, and two young men discover, at long last, how to interface with members of the opposite sex. Although charming on many levels, "Free Enterprise's" obscure sci-fi jokes (albeit quite comical) will sail over the head of anyone who is not even a moderate fan. William Shatner's self-parody, however, is not to be missed. First time director Robert Meyer Burnett took home a "New Directions Award" from the 1998 AFI/L.A. Film Festival for his effort, while co-scriptor Mark A. Altman shared honors for the "Best New Writer" award.