Given the ubiquity of these two words in the erotic thriller genre, it's hard to believe the title EVIL OBSESSION hasn't been used before. Nothing else in this by-the-numbers exercise can make that claim.
A Los Angeles serial killer has murdered 11 models in four months. Homer Douglas (Corey Feldman) is an unemployed young man who is obsessed with famous model Margo Johnson (Kimberly Stevens). He sends her notes and spies on her most intimate activities. Margo hires private investigator Damon
Thomas (Mark Derwin) for protection.
To get closer to Margo, Homer joins her acting class, run by the demanding Stavinski (Brion James). Homer is spying on Margo as she tells her acting partner and lover, Bill (Michael Phenicie), that she wants out of the relationship. After she leaves, enraged that Bill was abusive toward her, Homer
attacks him. Bill's badly beaten body is found later in an alley. Margo is assigned a new partner--Homer.
When Damon visits Stavinski's studio for a list of Margo's fellow students, he flirts with receptionist Liz (Stacie Randall), who yearns to join the acting class but is treated condescendingly by the great teacher. In the course of his investigation, Damon discovers Homer's shrine of Margo photos.
He rushes to Margo's house, where she and Homer are discussing class work, and apprehends him. But at the police station, Damon believes Homer when he admits to sending Margo notes but denies that he killed anyone. Margo goes to Stavinsky's studio where she is attacked by the real killer--Liz.
Damon arrives just in time to stop her murderous attack with his gun. Homer moves on to another obsession.
The familiar plot of EVIL OBSESSION is presented in such a perfunctory manner that the plot holes barely even matter. For example, why does Liz, who presumably murders out of jealousy at being denied a spot in Stavinski's class, attempt to kill Bill, and do so in a manner inconsistent with her
other murders? Lacking a plot that even tries to puzzle the viewer, EVIL OBSESSION exists for two reasons. The first is to exploit the body of Kimberly Stevens, sort of a poor man's Kelly Lynch. (Endless slow-motion montages try but fail to persuade us that she is the stuff of obsession.) The
other is a twitching psycho performance by Corey Feldman, whose apparent bid to become the new Dwight Frye is the only thing that makes this exercise in inevitability bearable. (Violence, extensive nudity, sexual situations, adult situations, profanity.) leave a comment