“Angus” is about an adolescent with an unfortunate name; for as he tells us in the beginning of this film by director Patrick Read Johnson, he is a fat kid. He’s played by Charlie Talbert, who instills him with the frustration and ups and downs that go along with sticking out in high school – which is the last thing one ever wants to do. While the story presented is not overly ambitious – an unpopular kid learns how to accept his faults, stand up for himself, and attempts to get the girl – it’s handled with grace and wit. “Angus,” based on a short story by Chris Crutcher, feels young. That’s a compliment. The film is content to bask in the hallways of its high school and make Angus seem real.
As you could expect, Angus has a nemesis. He’s named Rick Sanford and is played by James Van Der Beek with a meanness and spite one wouldn’t expect from the “Dawson’s Creek” star. Why does Rick despise Angus so much? Perhaps its because he’s threatened by him, or perhaps it’s because he doesn’t fit in. Or maybe it’s because he’s fat. High school can be a mean place, and Rick doesn’t really need a better reason to ostracize Angus. Angus in turn despises him; he has everything Angus wants: the looks, the popularity, and the girl – Melissa Lefevre – whom Angus has been in love with since childhood.
“Angus” flows fairly smoothly as a film, even if it shies away from a lot of the depth or melodrama that accompanies other movies of its ilk. It builds a good cast and relies on them to accomplish its task, which they do well. We have players like Kathy Bates, playing Angus’ mom, and George C. Scott playing his loving but aging grandfather. Angus also has a best friend named Troy, played by Chris Owen who would later gain popularity in the “American Pie” series. Angus and Troy are outcasts and build some nice scenes of camaraderie. However, the real meat of the story lies between Talbert and Scott, who are paired together in a sweet and believable way throughout.
“Screw ‘em!,” is a frequent catch phrase hurled by his grandfather during “Angus’” run. It’s his motto for life. If someone doesn’t like what you’re doing, forget them. He’s 73-years-old, is engaged to a woman 30 years his junior, and wants Angus to stop letting people define his path for him. Angus desperately wants to fit in, to find the courage to be himself, and, above all, talk to the hopelessly beautiful Melissa (Ariana Richards). A good deal of this movie jumps in and out of high school halls and teen hot spots, but director Johnson makes sure to focus on the severity of Angus’ plight. Is there anything worse for a teenager than feeling you’re not good enough to talk to the girl of your dreams? But with his grandfather’s coaching maybe Angus has a chance.
Ariana Richards and Charlie Talbert in a scene from “Angus” (Atlas Entertainment, 1995).
There are a lot of plot mechanisms here – and though the film was released a staggering 23 years ago – I will not spoil the film by revealing the specifics. There’s bullying, there’s heartache; there’s heart-to-hearts and there’s the film’s obligatory climax at the scene of a school dance, but it’s all handled well. I suppose there’s some cliché here; but the way the material is handled by the film’s cast makes it feel very much unlike cliché. Angus is an easy guy to root for, and this movie makes him seem relatable and real.
If I were to complain about “Angus” I suppose I should say it doesn’t go as deep as it could have. There’s some powerful scenes; one between Angus and his grandfather’s fiancée is especially moving, as is another between his grandfather and mother. But overall the film shies away from the extreme melancholy or insights that made films like “The Breakfast Club” so engaging. Much of its happenings are buried under a very ‘90s soundtrack, featuring such artists as Goo Goo Dolls, Weezer, Green Day, and Mazzy Star. But say what you will, the film’s opening number, “Am I Wrong” by Love Spit Love is among the picture’s most fulfilling, and remains a favorite of mine to this day.
“Angus” is a fine movie. It deals with relatable material, has solid performances, and ends in a way that is predictable yet real. It’s a credit to Johnson that by the time Angus gets to the dance and has his one shining moment to woo Melissa, she turns out to be not as mysterious as he thought. Angus put her on a pedestal; but in a fit of irony she may actually deserve to be there. It’s a wonderfully nuanced conclusion, and couldn’t have worked without Richards’ performance. It’s unfortunate she more or less headed to T.V. movie obscurity after this.
– by Mark Ziobro
