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S.F.W.
Theatrical release poster
Directed byJefery Levy
Screenplay by
Based onS.F.W.
by Andrew Wellman
Produced byDale Pollock
Starring
CinematographyPeter Deming
Edited byLauren Zuckerman
Music byGraeme Revell
Production
companies
Distributed byGramercy Pictures
Release dates
  • September 15, 1994 (1994-09-15) (TIFF)
  • October 14, 1994 (1994-10-14) (United States)
Running time
96 minutes
CountryUnited States
LanguageEnglish
Box office$63,513[1]

S.F.W. (or So Fucking What) is a 1994 American black comedy film directed by Jefery Levy and written by Levy and Danny Rubin. Based on the 1991 novel of the same name by Andrew Wellman, it stars Stephen Dorff and Reese Witherspoon.

S.F.W. premiered at the Toronto International Film Festival on September 15, 1994 and was released by Gramercy Pictures on October 14, 1994. The film received negative reviews from critics and grossed $63,513.

Plot

[edit]

Cliff Spab and his friend Joe Dice go out one evening to buy beer from a convenience store, where a group of armed, masked terrorists take them and three other people hostage. The terrorists, who call themselves S.P.L.I.T. Image, have a video camera with which they tape their hostages' every word and action. S.P.L.I.T. Image's only demand is that their broadcasts be televised live on worldwide television, or else the hostages will be killed. The terrorists make good on the said threat by killing two hostages. Cliff, Joe, and teenager Wendy Pfister are the only surviving captives. Cliff eventually becomes indifferent to being killed. While being filmed, he demonstrates his new-found nihilistic world-view in an improvised monologue in which he repeatedly asks, "So Fucking What?". The coverage of this makes Cliff a media icon.

After 36 days of captivity, Joe manages to kill one of the terrorists. In the ensuing shoot out, Cliff shoots his way to freedom, taking a bullet in the shoulder while Joe is killed. Despite Joe's demise, Cliff is branded a hero for saving Wendy and killing the terrorists. He is picked up from the hospital by his brother Scott. He is welcomed awkwardly by his domineering father and weak-willed mother.

Back on the street, Cliff finds his life changed forever by the convenience store incident. His line – abbreviated as S.F.W. – is on banners, newspapers, CDs, and billboard advertisements. At Burger Boy, the fast-food restaurant where he works, Cliff finds his name and image posted alongside a "Special $.36 Spaburger" (named after him), being marketed in commemoration of his 36 days in captivity.

Cliff visits Joe's older sister Monica. She resents the media idolization directed at Cliff, while Joe has gotten neither sympathy nor attention. Cliff eventually has sex with Monica. The following morning, Cliff, who is disenchanted with the reporters camped on his front lawn, moves out. He visits another friend, Morrow Streeter, who lets Cliff hide out at the elegant home of his lawyer sister Janet. She advises Cliff to exploit his notoriety for personal gain. Lacking in any sense of purpose, Cliff hitchhikes out of town. He gets a ride with a couple, who idolize him. Cliff eventually stops fleeing from the journalists following him; he hosts a videoclip show, holds press conferences and makes public appearances.

More than anything, Cliff aspires to reunite with Wendy, but her parents will not let him. Wendy eventually visits him. They evade the media and revisit the convenience store, which has been closed down and boarded up as a crime scene. Wendy tells Cliff that it might be turned into a memorial park. The two later have sex.

Days later, Cliff and Wendy make a public appearance at a high school. They receive a standing ovation from a crowd of adoring students, who chant "So Fucking What!" One student, Barbara "Babs" Wyler, does not join in the cheering. After sitting in angry silence, Babs takes a gun from her book bag and stands up. With a yell of "Everything matters!" she fires on Cliff and Wendy, seriously wounding them both. Media attention switches to Babs as she is arrested, booked, and indicted for attempted murder. Her line of "Everything matters" becomes the new public catchphrase, replacing Cliff's "S.F.W.". It represents a less-disaffected philosophy than the one Cliff supposedly believes in, but it becomes equally popular. Reporters and other media people cannot stop talking about Babs' actions. Sharing their own hospital ward, the recovering Cliff and Wendy decide to get married.

Cast

[edit]

Production

[edit]

S.F.W. was filmed in October and November 1993, in Los Angeles.[2]

Reception

[edit]

S.F.W. received negative reviews from critics.[3][4] In a one-star review, critic Roger Ebert said "the film is intended as a satirical attack on the cult of celebrity", but its central figure is "the most singularly stupid, obnoxious character I've seen on the screen in many a day - which would be promising, if he were not boring, as well."[4]

On Rotten Tomatoes, the film has an approval rating of 12% based on reviews from 17 critics.[5]

Soundtrack

[edit]

S.F.W.: The Original Motion Picture Soundtrack was released on CD on September 27, 1994 by A&M Records.[6]

It contains 13 tracks, with two of them, "S.F.W." and "Spab 'N' Janet Evening/The Green Room", being written especially for this movie:

  1. "Jesus Christ Pose" (Soundgarden) – 5:51
  2. "Get Your Gunn" (Marilyn Manson) – 3:19
  3. "Can I Stay?" (Pretty Mary Sunshine) – 3:04
  4. "Teenage Whore" (Hole) – 2:58
  5. "Negasonic Teenage Warhead" (Monster Magnet) – 5:00
  6. "Like Suicide (Acoustic Version)" (Chris Cornell) – 6:11
  7. "No Fu**'n Problem" (Suicidal Tendencies) – 3:31
  8. "Surrender" (cover of Cheap Trick song) (Paw) – 3:56
  9. "Creep" (Radiohead) – 3:57
  10. "Two at a Time" (Cop Shoot Cop) – 4:01
  11. "Say What You Want" (Babes in Toyland) – 3:35
  12. "S.F.W." (Gwar) – 2:18
  13. "Spab 'N' Janet Evening/The Green Room" (Graeme Revell) – 2:56

The director, when discussing the soundtrack, stated "In a way, this story parallels what happened to [Kurt] Cobain. It's a movie about a regular kid (Stephen Dorff) with an extraordinary sensitivity." Levy wanted to include Nirvana's "All Apologies" and asked Cobain to screen a rough cut of the film. While he states that "Kurt really responded to the movie", Levy missed getting permission to include the song due to Cobain's suicide. The soundtrack does include "Teenage Whore", a tune by Cobain's widow Courtney Love and her band Hole. Levy recalled "When she was responding (to Cobain's suicide note in a taped broadcast) she kept using the term 'So f -- -ing what'. It was weird."[7]

The song "S.F.W." by Gwar was nominated for the Grammy Award for Best Metal Performance at the 38th Annual Grammy Awards in 1996.[8]

Other songs featured in the film but not on the soundtrack:[9]

Almost all of the score was composed by Graeme Revell.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

S.F.W.

View on Grokipedia
from Grokipedia
S.F.W. is a American black comedy written and directed by , based on the 1991 novel of the same name by Andrew Wellman. The story centers on Cliff Spab (), an alienated and misanthropic teenager, who along with fellow hostage Wendy Pfister () and others, is taken captive by terrorists in a and held for 36 days in a broadcast live on television, propelling them into unwanted status. The satirizes media , the cult of , and the perverting effects of omnipresent coverage on personal lives. Produced by Dale Pollock, the film features a supporting cast including as Morrow Streeter, as Monica Dice, and as Gerald Parsley. Filmed in , it premiered at the on September 15, 1994, before a limited theatrical release in the United States on January 20, 1995, distributed by . The screenplay, co-written by Levy and , amplifies the novel's themes of and media exploitation through a mix of dark humor, heavy metal soundtrack elements, and raw, sophomoric dialogue. Upon release, S.F.W. received mixed to negative reviews from critics, who praised its bold critique of media culture but criticized its uneven pacing and over-the-top execution; awarded it one out of four stars, calling it a "clumsy" attempt at . It holds a 6% approval rating on based on 16 reviews, with an average score of 3.7/10, though it has garnered a in subsequent years for its prescient commentary on fame and . The film marked early roles for Dorff and Witherspoon, both of whom were rising stars at the time, and remains notable for its raw depiction of youth disaffection amid technological spectacle.

Narrative and Characters

Plot

The film S.F.W. centers on Cliff Spab, a cynical and alienated young slacker from suburban , who enters a with his friends to buy . Suddenly, a group called S.P.L.I.T. , masked terrorists with guns and a , seize the store, taking Cliff and four other hostages captive while demanding that their antinuclear be broadcast live on national television. The standoff begins as a chaotic , with the terrorists forcing the hostages to perform for the cameras installed throughout the store, turning the ordeal into a bizarre show watched by millions. Over the course of a grueling 36-day , Cliff's initial toward the terrorists' threats evolves into defiant indifference, as he repeatedly responds to their demands and the cameras with the phrase "So Fucking What?"—a raw expression of his disdain for , , and the itself. This , later abbreviated as "S.F.W.," catches on nationally, transforming Cliff from a passive victim into an unlikely anti-hero symbolizing youth rebellion and media-savvy nonchalance. Amid the escalating tensions, interpersonal dynamics shift: Cliff bonds with fellow hostage Wendy Pfister, a more privileged young woman whose initial fear gives way to resilience, while conflicts arise with other captives and the captors, highlighting themes of isolation and the of enforced proximity. The prolonged captivity exposes the hostages' personal traumas and the terrorists' misguided , underscoring the narrative's critique of media that amplifies trivial defiance into cultural phenomenon. The siege culminates in violence on the 36th day when the store's beer supply runs dry, sparking a desperate confrontation. Cliff, seizing a moment of distraction, teams up with his childhood friend Joe Dice to overpower and kill the terrorists, though Joe sacrifices his life in the process, allowing Cliff to escape amid a of gunfire. Emerging as the sole surviving male , Cliff is as a by the frenzied media outside, his face plastered on T-shirts and newsreels, thrusting him into unwanted . In the aftermath, Cliff grapples with the disorienting effects of fame—parties, interviews, and exploitation—while his reluctant heroism masks deeper alienation, forcing him to confront his misanthropic . As Cliff navigates this new reality, his relationship with deepens into a budding romance, evolving from shared trauma to mutual support against the invasive spotlight. Wendy's arc mirrors Cliff's transformation, shifting from a detached observer to an active partner who challenges his cynicism. However, their bond is strained by the relentless media attention and the perverting effects of , encapsulating the film's exploration of how media-driven fame erodes personal connections and amplifies generational disillusionment.

Cast

The principal cast of S.F.W. (1994) centers on an ensemble of emerging young actors portraying characters caught in a high-profile crisis, highlighting themes of media and youthful disillusionment.
ActorRoleDescription
Cliff SpabThe , a misanthropic and alienated suburban teenager who gains unwanted celebrity status as the central figure in the unfolding events.
Reese WitherspoonWendy PfisterA fellow from an upper-middle-class background, serving as Spab's intellectual counterpart and romantic interest amid the crisis.
Morrow StreeterSpab's friend and a key supporting figure involved in the dynamics.
Monica DiceAnother whose presence adds to the group's interpersonal tensions during the ordeal.
Supporting roles include as Janet Streeter, a family member connected to the events; David Barry Gray as The Gunman, one of the terrorists; and as Joe Dice, Spab's childhood friend. S.F.W. marked an early role for Witherspoon, then 18, following her debut in The Man in the Moon (1991) and preceding her breakthrough in (1999).

Production

Development

S.F.W. is an adaptation of the 1991 novel of the same name by Andrew Wellman, which explores themes of media and youth alienation during a siege. The screenplay, credited to and , transformed the source material into a satirical emphasizing America's obsession with , even in absurd or tragic contexts, thereby expanding the book's critique of media exploitation. , who had recently co-written the acclaimed (1993), brought his experience in blending humor with philosophical undertones to the project. Levy, serving as both director and co-writer, shaped the film's black comedy-drama tone to highlight teen rebellion and the farce of instant fame, using caricature-like characters to underscore the story's media satire. Producer Dale Pollock oversaw the pre-production, facilitating the involvement of Gramercy Pictures as the primary backer and distributor for this independent venture.

Filming

Principal photography for S.F.W. commenced in October 1993 and wrapped in November 1993, spanning approximately six weeks in , . The production team constructed a simulated set to serve as the primary location for the film's central , allowing for controlled filming of the confined, tense sequences inside the store. Additional shooting occurred on urban exteriors throughout to depict the chaotic and public reaction outside the store, capturing the city's diverse streetscapes and news van setups.

Release and Commercial Aspects

Theatrical Release

The premiered at the on September 15, 1994. Originally scheduled for October 14, 1994, the limited U.S. theatrical release was delayed to January 20, 1995, due to an overwhelming fall release schedule and positive responses at film festivals. Gramercy Pictures, a division of PolyGram Filmed Entertainment, handled distribution and marketed the film to emphasize its youth-oriented themes of media satire and rebellion. The campaign highlighted the controversy over the title's acronym—"So Fucking What"—to generate buzz among teenage audiences, despite challenges in securing mainstream product placements due to the film's edgy content. The release strategy focused on a limited rollout in major urban markets to target alternative demographics, with promotional efforts including tie-ins to grunge-era music outlets and the film's soundtrack featuring bands like and Green River.

Box Office

S.F.W. had a in the United States on January 20, 1995, distributed by . The film earned a total domestic gross of $63,513, which accounted for its entire worldwide performance given the absence of significant international distribution. It opened with $44,227 during its first weekend across a limited number of theaters, but attendance declined rapidly thereafter, with the total earnings only modestly exceeding the debut figure over the course of its short run. This underperformance occurred amid competition from major releases in early 1995, such as the ongoing success of , which dominated the during the same period. As a low-budget independent production, the film's modest financial outcome highlighted challenges in attracting audiences, exacerbated by negative pre-release buzz that impacted initial attendance.

Home Media

The film was first made available on through a VHS release by Video on May 16, 1995, shortly after its limited theatrical run. This format capitalized on the era's dominance of videotape rentals and sales, providing the primary means for audiences to access the movie in the mid-1990s. Official DVD editions did not emerge until the early , with limited releases distributed through specialty retailers rather than widespread availability. These versions, often produced under the film's original branding, offered improved picture quality over VHS but remained niche due to the movie's rather than mainstream demand. A Blu-ray edition followed much later, released by Olive Films on September 22, 2015, featuring high-definition transfer and basic special features to appeal to retrospective viewers. By 2025, S.F.W. has transitioned to digital streaming platforms, enhancing accessibility for modern audiences interested in indie cinema. It is available on free ad-supported services like , as well as subscription options including , fuboTV, and MGM+. This shift to on-demand viewing reflects broader trends in home entertainment, where older titles gain renewed visibility through algorithmic recommendations and nostalgia-driven catalogs. The film's initial commercial underperformance in theaters further emphasized direct-to-home formats as key to sustaining its audience over time.

Reception

Critical Response

Upon its release in 1994, S.F.W. garnered predominantly negative reviews from critics, who found its satirical take on media and underdeveloped and off-putting. On , the holds a 6% approval rating based on 16 reviews, with an average rating of 3.7/10. Prominent critic awarded the 2 out of 4 stars, describing Cliff Spab as "the most singularly stupid, obnoxious character I’ve seen on the screen in many a day—which would be promising, if he were not boring, as well." Ebert further critiqued the 's reliance on juvenile humor, nihilistic , and a shallow exploration of its themes, arguing that prolonged exposure to the lead character exhausted viewers. Similarly, Variety characterized the movie as a "satirical spin through America's oft-reported fascination with celebrities, no matter how empty or facile," but faulted it for an uneven tone and failure to develop fleshed-out characters beyond profanity-laden antics. The review acknowledged Dorff's credible portrayal of the alienated teen but deemed the overall execution only "sporadically amusing," highlighting the thin premise and lack of depth in addressing media exploitation or youth apathy. Common criticisms centered on the film's juvenile humor and superficial treatment of its subjects, with many reviewers dismissing the hostage scenario's pacing as dragging and the satire as heavy-handed without meaningful insight. A minority of contemporary responses, particularly from smaller outlets, appreciated the film's bold attempt to lampoon media hype and disaffection, viewing Dorff's performance as a highlight amid the chaos.

Audience and Legacy

Upon its 1994 release, S.F.W. attracted limited theatrical audiences amid competition from major films like . This poor turnout aligned with the film's niche appeal to viewers, who discovered it primarily through rentals and embraced its portrayal of disillusionment and media cynicism. The movie contributed to the slacker cinema wave, influencing depictions of Gen X irreverence in films that captured post-grunge apathy and anti-establishment attitudes. Its titular acronym, standing for "So Fucking What," became a symbol of defiant nonchalance, echoing the era's cultural of youthful . In modern reappraisals, such as a 2025 Film Obsessive article, S.F.W. is viewed as prescient in satirizing the of fame, anticipating social media's role in turning personal into viral . Witherspoon's early performance as Wendy Pfister has garnered increasing recognition as a standout in her pre-stardom roles. The maintains a cult following online, with Letterboxd users rating it 3.0 out of 5 based on over 2,500 reviews, reflecting ongoing appreciation for its relevance. Initial critical dismissal further fueled its obscurity, paving the way for this retrospective endurance.

Soundtrack

Album Release

The official soundtrack album for S.F.W., titled S.F.W. (Original Motion Picture Soundtrack), was released on September 27, 1994, by as a featuring 12 tracks from prominent and artists of the era plus one original score cue. The album's compilation reflected the mid-1990s trend of soundtracks serving as standalone commercial products that capitalized on the popularity of alternative music, similar to releases for films like Singles and . Music supervisor Dana Sano oversaw the album's production, selecting and licensing tracks to align with the film's themes of youthful rebellion and media satire. The total runtime of the album is 50 minutes and 36 seconds, packaged in a standard jewel case CD format with artwork featuring the film's poster imagery. The track listing is as follows:
  1. "Jesus Christ Pose" by (5:51)
  2. "Get Your Gunn" by (3:19)
  3. "Can I Stay?" by Pretty Mary Sunshine (3:04)
  4. "Teenage Whore" by (2:56)
  5. "Negasonic Teenage Warhead" by (5:00)
  6. "Like Suicide" (Acoustic Version) by (6:12)
  7. "No F**k'n Problem" by (3:31)
  8. "Surrender" by (3:56)
  9. "Creep" by (3:57)
  10. "Two At A Time" by Cop Shoot Cop (4:01)
  11. "Say What You Want" by Babes In Toyland (3:35)
  12. "S.F.W." by (2:18)
  13. "Spab 'N Janet Evening / The Green Room" by (2:56)
Among the tracks, GWAR's "S.F.W." received a Grammy for Best Metal Performance at the in 1996.

Notable Contributions

The score for S.F.W. was primarily composed by , providing the film's underlying musical framework with cues such as "Spab 'N Janet Evening / The ." Standout tracks on the include GWAR's "S.F.W.," which serves as the energetic end-credits , capturing the film's defiant spirit. 's "" contributes to the narrative's rebellious undertones during key sequences. Additionally, director sought to include Nirvana's "" to further emphasize themes of alienation and youth rebellion, though the track was not secured; viewed a of the film prior to its inclusion considerations. GWAR's contribution earned a Grammy Award for Best Metal Performance at the in 1996. The soundtrack's music integrates with the film's satirical edge, notably through the ironic deployment of an arranged version of "," which juxtaposes patriotic idealism against the chaos of the and media frenzy. Rock elements from artists like and amplify the story's critique of societal hypocrisy and . The complete allows for full exploration of these musical elements beyond the film's usage.

References

  1. https://www.latimes.com/archives/la-xpm-1995-01-20-ca-22108-story.html
  2. https://filmobsessive.com/film/film-features/film25yl/the-forgotten-s-f-w-defines-the-90s-now-more-than-ever/
  3. https://www.imdb.com/title/tt0111048/
  4. https://www.rogerebert.com/reviews/sfw-1995
  5. https://variety.com/1994/film/reviews/s-f-w-2-1200440339/
  6. https://www.rottentomatoes.com/m/sfw
  7. https://bandsaboutmovies.com/2020/04/05/s-f-w-1994/
  8. https://www.imdb.com/title/tt0111048/fullcredits/
  9. https://www.reese-witherspoon.org/reese/biography/
  10. https://variety.com/1994/film/reviews/s-f-w-1200438160/
  11. https://www.vulture.com/2017/03/danny-rubin-groundhog-day-musical.html
  12. https://www.imdb.com/title/tt0111048/locations/
  13. https://www.imdb.com/title/tt0111048/releaseinfo/
  14. https://www.upi.com/Archives/1994/10/10/Gramercy-Pictures-has-delayed-the-release-of-SFW-an/7036781761600/
  15. https://www.boxofficemojo.com/title/tt0111048/
  16. https://www.latimes.com/archives/la-xpm-1993-12-19-ca-3475-story.html
  17. https://www.worldradiohistory.com/Archive-All-Music/CMJ/1994/CMJ-New-Music-Report-1994-09-26.pdf
  18. https://www.ebay.com/itm/205768570217
  19. https://vhscollector.com/movie/sfw
  20. https://www.amazon.com/S-F-W-Stephen-Dorff/dp/B000092Q5O
  21. https://www.blu-ray.com/movies/SFW-Blu-ray/137335/
  22. https://tubitv.com/movies/486571/sfw
  23. https://www.amazon.com/SFW-Jefery-Levy/dp/B0F26B43PR
  24. https://www.justwatch.com/us/movie/s-f-w
  25. https://www.avclub.com/reality-bites-and-the-slackers-of-1994-all-but-ruined-m-1798271570
  26. https://hotcorn.com/en/movies/news/s-f-w-jefery-levy-review/
  27. https://letterboxd.com/film/sfw/
  28. https://onlygrunge.com/s-f-w-original-motion-picture-soundtrack-album-1994/
  29. https://www.discogs.com/release/949289-Various-SFW-Original-Motion-Picture-Soundtrack
  30. https://www.soundtrackinfo.com/OST/sfw/
  31. https://www.grammy.com/artists/gwar/8229
  32. https://www.imdb.com/title/tt0111048/soundtrack/
  33. https://www.imdb.com/title/tt0111048/trivia/
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