No one can figure out Pat’s gender. It’s driving the world insane. Can they figure out who and what Pat is before it’s… uh… too late? Find out in… It’s Pat!
How?! At the top we are introduced to Pat, an androgynous looking person who wanders from job to job and is generally an unpleasant asshole to be around. After once again taking up a new career, Pat meets Chris, another androgynous looking person who is not an asshole, and they fall in love. At the same time Kyle and his wife move next door and he becomes obsessed with solving the mystery of Pat’s gender. From there… pretty much nothing happens. Pat randomly becomes a love talk radio host, Chris and Pat break-up due to Pat’s immaturity, and Kyle descends into madness trying to solve Pat’s gender mystery. In the end Pat and Chris get married and Kyle is still crazy. Nothing happens! Literally nothing! And it’s only 78 minutes long! Tied with Dudley Do-Right for the shorted in BMT history.
Why?! Did I mention how literally nothing happens in this film. Pat has no motivation. This might be the only film I can recall where the main character has no motivation. Even in horror films the main characters at the very least don’t want to die. Not Pat. Nothing motivates Pat. The only motivation to be found is Kyle’s deeply disturbed obsession with discovering what gender Pat is. Some would interpret this as offensive, whereby Kyle is so entrenched in gender norms of our culture that he is unable to function without being able to label Pat (and is incapable of figuring out how to broach the subject politely). But I interpret this more as Kyle’s self-identity being shattered by finding himself in love with Pat. Without knowing what Pat is he feels like he doesn’t know a part of himself. He really doesn’t care what Pat is in the end (he would love Pat regardless), but just needs to know what it means for his own self discovery. You know what?… That still sounds kind of offensive. Is that still offensive?
What?! New What section. Here I’ll highlight some hilarious product placement in the film (another one of our favorite BMT things). While It’s Pat didn’t hawk a random beer or soft drink, it did serve as an extended music video for the 90’s alternative/lo-fi rock band Ween. That’s how little happened in this film. They were able to have two extended musical scenes by the band Ween and still come in under 80 minutes.
Who?! Ween was the biggest cameo, but not It’s Pat’s most acclaimed. That honor goes to Camille Paglia, a well regarded feminist thinker and academic. She unexpectedly shows up in a bizarre sequence where Pat’s engagement party karaoke video is screened on national television and she comes in to comment on it. Ween and Camille Paglia… interesting choices for a film that aims to say nothing of significance.
Where?! Easy breezy LA living for It’s Pat. Pretty clearly set there and I think for good reason. The one thing Pat seems to care about is somehow becoming famous. Makes sense that this takes place in LA then. B-.
When?! Exact date alert! Rarely do we get an super duper exact date and time, but that is the case for It’s Pat. As Kyle descends into madness he begins stalking Pat, including recording every minutiae of Pat’s day. In one such scene he notes that the time is August 2nd, 11:07 PM. Boom. Going out of their way for a slam dunk. B+.
It’s hard to overstate just how bad and crazy It’s Pat is. Easily one of the worst films we’ve watched… like ever. I sat in astonishment at what I was witnessing with nary a chuckle escaping my lips. Let’s expand on that thought. Patrick?
‘Ello everyone! Guess what? … It’s Me! Terrible joke, but this week we watched It’s Pat. Who would have thought making a movie about an SNL character who can barely sustain a five minute sketch would have been a bad idea? No one knew!! Let’s get into this pile of dog poo. Note: I will be referring to Pat as “he” for this review for simplicity’s sake, they never do reveal the character’s gender.
The Good (Sequel, Prequel, Remake) – There is nearly nothing good in this film. I’ll throw a shoutout to Charles Rocket who, playing a man spiraling out of control in his obsession with Pat, it actually rather intriguing (maybe not good). But that is it. But it is time … Remake! There is the smallest nugget of okay-ness in this film, and that is the idea behind Kyle’s (Charles Rocket) obsession. I’ll get a bit more into why everyone’s quest to discover Pat’s gender is an unappealing central conflict for a film, but Kyle utters a single line which I think could have been an okay storyline. “I love you Pat, I just need to know how we fit together”. Pat plays a boor; a narcissistic, obnoxious, asshole. But if instead Pat was strangely appealing it might work. He is a weirdo, but people find him oddly calming. Perhaps he is naive, or straightforward, and his struggles to fit in are inspiring. Regardless, Kyle’s obsession is then rooted in himself. How do he and Pat fit together? Is he gay, is he in love with a man? The conflict is his self-torment. And everyone he asks, Pat’s friends and family, shrug off all inquiries: Why does it matter? Pat is Pat? Pat would be the same regardless of whether he dressed and acted more masculine or feminine. Perhaps this story works better twenty-five years on, but it certainly could be made more pleasant that what we got. Which …
The Bad (Sklognalogy) – Honestly, this movie is offensive. Everyone’s obsession with Pat’s gender comes across as weird and gross (weirder and grosser than Pat is intended to be, in many ways). Kyle’s obsession rings false because of just how big of a douchebag they make Pat out to be. It is poorly made, riddled with confusing stops and starts and flashbacks, and there isn’t really a story. A giant chunk of the middle of the film has to do with Pat playing a gig with Ween (they are somehow an enormous part of this movie!). Sklognalogy! I’m trying this out for a bit, but I’ll reach deep inside BMT and try and figure out ghosts of BMT’s past that haunt and colored my viewing of this film. Two obvious choices come to mind, straight from SNL alums. Going Overboard starring Adam Sandler has the same kind of low-quality surrealist living-cartoon-as-a-vessel-for-a-one-man-show kind of feeling to it, although It’s Pat is obviously relatively higher quality. The other is Stuart Saves His Family, which is closer to the same era of SNL films, but at least Stuart Saves His Family took a chance with the serious-family-drama-in-an-SNL-film idea. This is a blend between the two. A true SNL disaster.
BMT: Legacy / StreetCreditReport.com – StreetCreditReport.com is here to stay! First, the legacy: This might be the worst film I’ve ever seen. It is at least amazingly close. I think it will carry that torch for years to come, and I think along with Car 54 Where Are You? these films kind of exemplify bad movies of this particular era. As far as street cred, woof. #95 on the IMDb Bottom 100, and it is consistently mentioned as (by far) the worst SNL movie ever made. I’m kind of surprised it didn’t make it onto the worst films wiki page (I swear it used to be there), but it certainly would be top 3 for 1994 and top 10 for the 90s I think, if you really got into it. This is a truly weird film. Would not recommend.
I’ll close there with a very very brief BMT Homework: Do yourself a favor and watch one or two Pat skits from the early 90s. They are for reals offensive. People’s obsession with his gender is, as I said, gross and weird. The character is absurdly annoying. My year of flops gets into it a bit, but basically they seem to be correct: a ridiculous number of sketches just involve Pat meeting his doppelganger in the form of the guest for the week. It is everything that is wrong with that era of SNL: the recurring, cheap, and lazy character all rolled into one. I’ll leave it there. Cheerios, and back to you Jamie.