A talented young photographer, who enjoys snapping photos of his satirical, perverted Baltimore neighborhood and his wacky family, gets dragged into a world of pretentious artists from New York City and finds newfound fame.
A suburban housewife's world falls apart when her pornographer husband admits he's serially unfaithful to her, her daughter gets pregnant, and her son is suspected of being the foot-fetishist who's been breaking local women's feet.
Notorious Baltimore criminal and underground figure Divine goes up against a sleazy married couple who make a passionate attempt to humiliate her and seize her tabloid-given title as "The Filthiest Person Alive".
A day in the lives of a hit-and-run driver and her victim, and the bizarre things that happen to them before and after they collide (sexual assault by a crazed foot-fetishist, visions of ... See full summary »
A Baltimore sandwich shop employee becomes an overnight sensation when a photographer's photos he's taken of his weird family become the latest rage in the art world. Written by
Joe Blevins <email@example.com>
As I am no fan of almost any post-"Desperate Living" John Waters films, I warmed to "Pecker". After he emerged from the underground, Waters produced trash-lite versions of his earlier works ("Cry Baby", "Polyester", Hairspray") that to die-hard fans looked and tasted like watered down liqueur. "Pecker", which doesn't attempt to regurgitate early successes, is a slight, quiet, humble commentary on the vagaries of celebrity and the pretentiousness of the art world. Waters clearly knows this subject well because he has also exhibited and sold (at ridiculous prices) some of the most amateurish pop art ever created that you couldn't imagine anyone being able to give away if it wasn't emblazoned with the Waters "name". Edward Furlong is fine as "Pecker" and Waters' non-histrionic style is at ease with the subject.
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