Three O'Clock High (1987)

"You and me, we're gonna have a fight. Today. After school. Three o'clock. In the parking lot. You try and run, I'm gonna track you down. You go to a teacher, it's only gonna get worse. You sneak home, I'm gonna be under your bed."

Jerry Mitchell is not having a good day. He's late out of bed, he has to dry his clean shirt in the microwave, his car has a flat tyre, he makes a fool of himself in front of the school hot chick... oh yeah, and he has managed to piss off the schools new psycho; and all before 9 A.M. Buddy Revell has just been transferred to the school ahead of some wild rumours regarding how many kids and teachers he put in comas at his previous residence. It doesn't take much to set Buddy off; apparently he has 'touching' issues, and especially doesn't like being talked to whilst standing at a urinal, all of which Jerry finds out the hard way.

Buddys' intention is simple: to turn Jerry into hamburger meat just after the three o'clock  bell.  What ensues is a race against time as Jerry turns to friends, teachers, robbery and desperate attempts to get detention, all in the aim to get out of fighting. Every scheme backfires, and only seems to make things worse. His best friend breaks into the bullies locker and plants a flick knife, he burgles the school office to pay another bully to stick up for him, all of which only lands him in the principals office, tarnishing his impeccable school record. Will Jerry realise in time that he can't rely on others to solve his problems? Is ruining his own reputation worth getting out of a fight? Is he really the biggest pussy ever? The clock is ticking, and 3.PM is looming...

It really is quite enjoyable watching Jerry slip further from his moral compass as the film progresses. Initially he spurns his friends suggestions to try get Buddy thrown out of the school, but as he becomes more desperate, robbery seems like the easiest way out of his problems. The psychological torture is what rakes up the tension along with the escalating desperation. The word on Jerry's imminent destruction spreads like wildfire around the school; it would make Ferris Bueller proud. No matter where he turns, there are analogies and omens of his impending doom. Even the school becomes a prison that he cannot escape. Deranged security guards, barbed wire fences... several mentions of prison even get made. There really is no escaping his doom.

This might sound like the film has a John Hughes level of social commentary or teen angst, but there is no room for that kind of emotional dwelling here. Playing out like a teen comedy version of High Noon, the focus is definitely on the gags, both visual and verbal. The opening montage of Jerry getting ready for school sets the tone, with a lively pop rock song playing over some interesting and funny shots. This unusual camera work continues all throughout the film, and really helps it stand out and adds to the tension. We get plenty of fast tracking shots, crane shots, crash zooms, sped-up footage; it probably is the best shot teen film I have seen in years. No surprise to see Barry Sonnenfeld listed on the cinematography credits, he did Raising Arizona the same year.

The script is pretty tight, though some of the jokes don't always quite work. Some of the delivery and punchlines fall to the side as mere exchanges, when perhaps they could have been focused on more. Some of the timing is perfect ("Don't fuck it up, Mitchell!") while other moments are off, or perhaps the camera angle was wrong, or they don't cut quite fast enough to a reaction. These are slight issues, and most might not notice them. One scene that doesn't work for me is the moment when Jerry tries to seduce the English teacher to get detention. Sure, it's supposed to be a semi surreal scene, but it just felt off. Though the quip, "Now that's what I call a book report!" kinda makes up for it.

Other moments of visual gags work great, such as the domino-book shelves in the library, revealing the cowering hero behind them. The regular cuts to clocks and bells ringing also heighten the nightmarish atmosphere and tension. What makes most of this work though is the leads. Casey Siemaszko (Biloxi Blues, Back To the Future, Class) as Jerry is fairly good casting, he handles the comedy and drama solidly. In fact, I would say he suited the more drama orientated parts better. Richard Tyson (probably best known as the bad guy in Kindergarten Cop) steals every scene he is in as the hulking bully. How his character is set up before we meet him is hilarious; as Jerry arrives at the school, the camera roves off among the students as snippets of gossip is heard about him, with each piece more ridiculous than the last. It creates a myth that sticks with you as you watch the film, and works perfectly. What is also cool is that he is more a criminal/psycho/biker bully instead of the typical jock. As a character he has no motivation, no backstory. He isn't interested in popularity, or the heroes love interest. He is there solely to teach Jerry a lesson, plain and simple. By doing this they created one of the most memorable bad guys in teen comedy.

The film has a smattering of other recognisable faces in the supporting cast. Annie Ryan (Ferris Bueller's Day Off) plays the kooky school friend and potential love interest, but her role is a little under developed and we never get much a feel for her character. Jeffrey Tambor as the school bursar is sadly underused. Mitch Pileggi (X-Files, Shocker) has some good moments as the school security guard. Did this guy ever have hair? Philip Baker Hall shows up as a cop, but his scenes go nowhere really. Keep your eyes peeled for Yeardley Smith (Lisa in The Simpsons) as a cheerleader.

Director Phil Joanou went on to make State of Grace, and most recently, the short, The Punisher: Dirty Laundry. He does a good job keeping the film rattling along and the tension raking up. Special mention should be made of the Tangerine Dream soundtrack that gives the film a great pace, and adds an emotional depth to scenes that might not have been there otherwise. It's similar to how their score transforms Risky Business, their music somehow finds the pathos lurking beneath the actors faces and brings it out nicely. Sure, their tunes don't make for the best comedy, but they work perfectly here.

Stephen Spielberg is uncredited as producer, but apparently he was very hands on in the making of this film, but then had his name removed from it. He claims it was due to his hatred for the other famous exec, Aaron Spelling. Maybe. Perhaps the film didn't live up to his expectations; it certainly feels less polished and rough around the edges from the likes of Poltergeist, The Money Pit or Gremlins. Who knows. Either way, the film probably deserves to be seen more. If it had a John Cusack in the lead, people would be claiming it a classic. As it stands though, it is decent entry into the teen comedy cannon that can stand its own ground. Just make sure you pack your brass knuckles for the fight, ok?