Name: Very Bad Things
Genre: Comedy, Crime, Thriller
Released: 1998-09-11T00:00:00+00:00
Cast: Christian Slater, Cameron Diaz, Jon Favreau, Leland Orser, Jeremy Piven

The image of Jon Favreau’s Kyle Fisher, wide-eyed and blood-splattered, trying to shovel away his problems in the desert is as absurd as it is chilling—the perfect encapsulation of Very Bad Things. Peter Berg’s 1998 directorial debut is a messy, chaotic ride that never quite decides if it wants to be a dark comedy or a grim crime thriller. The result is a film that stumbles between genres with the same reckless abandon as its characters.

Berg’s script is packed with moments of pitch-black humor, particularly in the way it escalates from one disaster to another. The scene where the group of friends tries—and fails—to dispose of two bodies in the desert is both hilarious and horrifying, a testament to Berg’s ability to mine comedy out of sheer desperation. The cast, led by Jon Favreau as the hapless groom-to-be Kyle, delivers performances that lean into the absurdity with gusto. Cameron Diaz, in an early role, brings a sharp wit and steely resolve as Laura, while Jeremy Piven’s Michael Berkow is a standout, oscillating between guilt-ridden panic and explosive rage.

But where Very Bad Things falters is in its pacing and structural coherence. The film lurches from one set piece to the next without much breathing room, and the tonal whiplash can be exhausting. Berg seems more interested in cranking up the absurdity than in developing his characters or exploring the moral implications of their actions. The result is a film that feels more like a series of exaggerated skits than a cohesive narrative.

The performances are a mixed bag. While Favreau and Piven shine, Christian Slater’s Robert Boyd is underdeveloped, reduced to little more than a cartoonish villain. Leland Orser as Charles Moore fares better, but his arc feels truncated by the film’s breakneck pacing. The real standout is Daniel Stern as Adam Berkow, who brings a tragic depth to his character’s downward spiral.

Berg’s direction is energetic, with some striking visual moments—like the slow-motion crash of Adam’s minivan or the eerie stillness of the desert scenes—but it lacks the precision needed to elevate the material. The film’s black comedy elements are undeniably fun, but they often feel at odds with its darker aspirations.

The film’s exploration of male friendship and betrayal is intriguing, albeit uneven. The dynamic between the five friends—Kyle, Robert, Charles, Adam, and Michael—is a powder keg waiting to explode, and Berg does a commendable job of ratcheting up the tension as their secrets begin to unravel. However, the film’s rushed pacing prevents any real emotional resonance from taking hold. We’re left with a sense of the chaos these characters are experiencing but little insight into what drives them.

Comparisons to films like The Hangover or Very Bad Things’ own spiritual successor, The Hangover Part II, are inevitable, but Berg’s film distinguishes itself through its unflinching brutality. Where those films rely on broad humor and slapstick, Very Bad Things embraces a darker, more cynical tone. It’s a film that asks uncomfortable questions about morality and the lengths people will go to protect their secrets.

The cinematography is serviceable but unremarkable, with Berg favoring handheld camera work that heightens the film’s sense of immediacy. The desert scenes, in particular, are visually striking, with the vast emptiness serving as a stark contrast to the claustrophobic tension of the characters’ predicament. However, the film’s reliance on jump cuts and quick edits sometimes undermines its own momentum, making it difficult to fully invest in the unfolding chaos.

The soundtrack is another area where Very Bad Things excels. The use of upbeat, ironic music during moments of high tension creates a jarring but effective contrast, amplifying the film’s darkly comedic tone. The score, while not particularly memorable, serves its purpose well, heightening the film’s more suspenseful moments without overpowering them.

The film’s ending is both satisfying and frustrating in equal measure. On one hand, it delivers a fittingly absurd conclusion to the characters’ downward spiral, with Kyle and Charles crashing their car in a final, desperate attempt to escape their pasts. On the other hand, the abruptness of the resolution leaves several loose ends untied, particularly regarding the fate of the remaining characters.

Very Bad Things is a film that defies easy categorization. It’s too dark to be a straight comedy, too absurd to be a genuine thriller, and too uneven to be considered a classic. Yet, it’s also a film that refuses to be ignored, a chaotic whirlwind of humor, horror, and desperation that leaves a lasting impression.

In the end, Very Bad Things is a flawed but fascinating curio, a film that takes risks and stumbles in equal measure. It’s a testament to Berg’s ambition and the cast’s commitment that the film remains as engaging as it is, even in its messiest moments.