Film Review: Stealing Candy (2003)

The arrival of broadband Internet in the early years of the 21st century fundamentally altered the landscape of media consumption, allowing video recordings to be disseminated globally at a velocity that rendered them "viral" phenomena. Among the more controversial and defining aspects of this digital revolution was the emergence of celebrities who owed their status to the public exposure of their most intimate moments. Figures like Paris Hilton, Severina Vućković, and Kim Kardashian became household names largely because their private lives were broadcast to billions. Released just before this trend became an unstoppable cultural juggernaut, the 2003 thriller Stealing Candy, produced and directed by Mark L. Lester, inadvertently touched upon this very subject matter, pre-empting the era of the sex tape celebrity by framing its narrative around exactly that concept.

The title of the film refers to its protagonist, Candice "Candy" Tyler (Jenya Lano). Candy is a Hollywood actress who has reached a degree of stardom by starring in sleazy, exploitative thrillers, a career path that ironically puts her in a position where she is forced to confront the very nature of her profession. Despite having a no-nudity clause in her contract, she finds herself in dire financial straits due to unpaid taxes. However, her financial woes pale in comparison to the diabolical scheme concocted by Fred Dowd (Alex McCarthur), a conniving conman and ex-convict. Dowd recruits his prison friend Brad Vorman (Collio), played by the one-dimensional Coolio, to abduct Candy and transport her to an isolated ranch. There, she is to be forced to participate in a live pay-per-view sex show orchestrated by another ex-convict and computer expert, Walt Gearson (Daniel Baldwin).

Mark L. Lester is a director with a complex legacy; he reached the zenith of his career in the 1980s with relatively ambitious, high-budget action films like Commando. Before that, he had established his name with low-budget exploitation films specifically designed for the drive-in theatre circuit. After his 80s peak, Lester, by his own admission, returned to exploitation cinema, albeit within the "direct-to-video" economy. Stealing Candy is a quintessential example of this later phase. The production is obviously low-budget, a fact reflected in the limited cast, the generic locations, and the uninspired musical score by David Kaproff, a.k.a. DK Blue. The score sounds particularly cheap, relying on a synth-based imitation of Bernard Herrmann’s work on Psycho.

The primary attraction of the film remains Jenya Lano, the tall, big-breasted Russian-born beauty. She competently plays the stereotypical role that is written for her, and unlike her character, who struggles with a no-nudity clause, Lano has no trouble baring her main assets in front of the camera. She carries the film with a believable mix of vulnerability and grit, anchoring the production even when the material around her falters.

The central problem with Stealing Candy lies in the script. The premise places the main heroine in an unimaginably horrible ordeal: she is abducted, fears for her life, and is forced to engage in humiliating sex in front of what is implied to be tens of millions of people online. The film explicitly equates this experience to rape. If the film had been made with a higher budget, featuring bigger stars, or if it had been less obscure during its premiere, it would have certainly been viciously attacked by feminists for exploiting and condoning violence against women. The narrative is heavy and dark, but it lacks the nuance to handle it effectively.

The film attempts to avoid some of this criticism through a "clever" twist, which occurs during the final act and culminates in an ironic epilogue. It is a shame that Lester, who had the opportunity here, did not take a more ambitious route. Had he been a little more creative, this epilogue could have served as a meta-commentary on the illusory nature of Hollywood and the manipulation of the media. Instead, Lester makes a significant mistake by playing the plot entirely straight. The film had the potential to be something akin to a Tarantinoesque black comedy, using the absurdity of the situation for wit rather than relying on straight-faced tension. This missed opportunity is further highlighted by the actual sex scene, which is supposed to be the main selling point of the film. Directed with little skill, it looks underwhelming even when considering the censorship constraints; it lacks the eroticism or tension required to engage the audience.

Furthermore, miscasting mars the performances. Coolio delivers a one-note performance, relying entirely on the worst gangsta rapper clichés. Daniel Baldwin is equally unconvincing as the middle-aged hacker, failing to project the intelligence or tech-savviness required for the role. Alex McArthur, on the other hand, seems to be having the time of his life, playing the most enthusiastic member of the abductors' trio, which provides the film's only moments of genuine energy.

In the end, the only thing that makes Stealing Candy truly watchable is its short running time. It is a film that rushes through its narrative beats without allowing the tension to breathe or the characters to develop. Apart from fans of Jenya Lano and viewers nostalgic for the films that made Shannon Tweed a household name in the 1990s, Stealing Candy does not deserve a recommendation. It is a flawed, low-budget thriller that touches on a timely subject but fails to execute it with any cinematic merit.

RATING: 3/10 (+)

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