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Open Season (1995)

R | | Comedy | 3 May 1996 (USA)
When the television ratings machines suddenly malfunction, public television suddenly, but mistakenly, soars to #1 in this humorous satire.

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Cast

Cast overview, first billed only:
...
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Eric Bryson ...
Marcy King ...
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Hunk Cop
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Timothy Arrington ...
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Elizabeth Goodyear ...
Reporter #1
Craig Eldridge ...
Reporter #2
Frank Moore ...
Reporter #3
Dolores Toth ...
Lady #1
Marilyn Boyle ...
Lady #2
Faye Deabreu ...
Lady #3
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Storyline

An ex-employee of the TV ratings company goes to work at the Public Broadcasting Television studio (PBT) when suddenly the computer that determines ratings has a malfunction so that it inaccuratly reports a sudden trend from the normal violence, sex and gore on network television to the artsy PBT shows. Written by Steven Hunter <hunters@coral.indstate.edu>

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Genres:

Comedy

Motion Picture Rating (MPAA)

Rated R for language and some sexuality | See all certifications »
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Release Date:

3 May 1996 (USA)  »

Also Known As:

Káosz tévé  »

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(Technicolor)
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User Reviews

 
Unsubtle comedy proves to be very entertaining.
30 April 2002 | by (Mountain Mesa, California) – See all my reviews

Robert Wuhl stars in this pungent comedy which is also scripted and directed by him, and few sacred cows of any shapes or sizes remain safe as he casts himself as Stuart Sain, a somewhat naive tour guide for the Fielding Ratings Service, which tracks the television viewing habits of specially chosen American population segments and where a computer malfunction has caused a cellar-dwelling public broadcasting station to fallaciously leapfrog to the top of the rankings. Wuhl serves up an effective pastiche, rather than satire, of the television industry and its program selection process, as well as of a large grouping of liberal archetypes, including the vocation of drug rehabilitation, pertinent as Stuart's wife Cary, played nicely by Maggie Han, is a rehab counselor, while also relentlessly taking aim at organized religion. Although a fair amount of the humour is rather tasteless, and repeated looks at a targeted subject generally fall flatly, Wuhl's main concern is hypocrisy, and his wit is often enough on the mark to make of the work a pleasing affair; it is well-edited, with an enlivening score by Marvin Hamlisch, and a fine performance is provided by Gailard Sartain as the mandarin of the largest commercial network.


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