Roanoke Times
Copyright (c) 1995, Landmark Communications, Inc.
DATE: SUNDAY, February 6, 1994 TAG: 9402030045
SECTION: EXTRA PAGE: 2 EDITION: METRO
SOURCE: By JAMES ENDRST THE HARTFORD COURANT
DATELINE: LENGTH: Medium
The network already has started running an on-air promo defending the film to be broadcast Feb. 13.
"In the future," the ad begins, "how far will television go to get an audience? Some people say you shouldn't watch this film. Some say you must see it. Decide for yourself. Where does justice end and ratings begin?"
We won't get into all of that, though.
Because this is not a movie worth debating.
It's not even worth watching.
Sure, "Witness to the Execution," which stars Sean Young ("No Way Out") and Tim Daly ("Wings"), is supposed to be shocking because it's a drama about "the ultimate television event," namely a live, pay-per-view execution.
Unfortunately, the only thing truly startling about "Witness to the Execution" is its virtual inability to make provocative material interesting.
Set in "The Near Future . . . Somewhere in a 500-Channel Universe," "Witness to the Execution" does create a cold and vulgar little world, something made easier by casting Young in the lead role.
As Jessica Traynor, a programming executive willing to do anything to get an audience, Young tries to do Faye Dunaway's "Network" performance one better.
But this is no Paddy Chayefsky classic, though former ABC President Frederick S. Pierce (whose credits include HBO's "The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom") is executive producer.
And Young is no, well, actress. Not here, anyway. Unless you consider cracking a beer in your nightie in front of the telly acting. (Her best scene, believe us.)
"Why would anyone want to pay to watch TV?" Traynor wonders, wracking her questionable brain for a pay-per-view blockbuster. "What are they really looking for? What does our audience really need to see? What can we give them that they haven't seen before? What are we afraid to show?"
The answer in this crime-sodden world of 1999 is death.
Live.
Her profound reasoning?
"If you can't get it anyplace else, and you shock people to the core but they keep on watching, that's when you really hook people. That's when people are willing to shell out the bucks to see it. That's when pay-per-view really works."
And like that.
Her colleagues are momentarily repulsed by the idea.
"Do we want to be known as the grim reaper of television?," one asks.
"If we don't do it, the networks will," she says, adding, "The audience will pay to see this, and what's more, they'll thank us. My only question is when to slot this."
So off goes our little Jessica to cut a deal with the perfect death-row candidate - someone the public can love and enjoy frying at the same time.
Her find: Dennis Casterline (Daly), a cute killer. Turns out women love him even though he's convicted of breaking and entering, murdering a father and son, raping the mother and leaving her comatose and pregnant.
For most of the movie, Traynor eagerly works out the details of the execution, oblivious to anything but ratings. ("The minute he fries, he'll be forgotten," she tells her assistant.)
Only thing is, it starts to look as if Casterline - though he makes the deal with the devilish Traynor - might be innocent. So Traynor goes through an unconvincing warming trend, has a change of heart and begins a lame race against time to save the man she has condemned to death.
But by this time everyone from the governor (a woman) to her boss at Tycom Entertainment (played by Len Cariou) is so invested in the idea, there's no turning back.
It's all so vile, predictable and ends if not obviously then badly. (Actually, Thomas Baum is the one who should suffer cruel and unusual punishment for this script.)
But is it a menace to society?
Yeah, right, they wish.
by CNB