Cast: Paul Gross, Peter Berg, Teri Polo, Finola Hughes
Director: Patrick Hasburgh
Producer: Leonard Goldberg
Screenplay: Patrick Hasburgh
Music: Michael Convertino
U.S. Distributor: Hollywood Pictures
T. J. Burke (Paul Gross) is a failed writer whose life is going nowhere. Together with his best friend Dexter (Peter Berg), he heads off to Aspen, Colorado to become a ski instructor. T. J. soon learns, however, that with the glamor comes a price. He meets the ultra-rich Bryce (Finola Hughes), who's willing to give him just about anything money can buy if he throws over his true love (Teri Polo) and moves in with her. Meanwhile, Dexter becomes involved with Aspen's seedy underside, dealing drugs, drinking, and snorting cocaine.
Without a doubt, the most impressive thing about Aspen Extreme is its cinematography. Photographed by Stephen Fierberg and Robert Primes, this movie is a prime example of how to make good use of a camera, moving with the skiers as they fly down slopes and sail over embankments, twisting and turning to highlight the action without confusing or obscuring it. The numerous "scenery shots" (filmed in British Columbia, where the mountains are more imposing) are picturesque and breathtaking.
Unfortunately, the cinematography is the only reason to see Aspen Extreme. The movie does not possess an abundance of redeeming qualities. Writer/director Patrick Hasburgh, a ski buff, is unable to put together a convincing story with real characters. He knows his stuff on the slopes, but this film tries unsuccessfully to be a lot more. For this, his first effort, he might have had some success trying for a comedy instead of a drama.
Aside from being fragmented (it's difficult to tell how much time has passed at any given point during the film -- the seasons change, but it's unclear how quickly), the plot is a staggering amalgamation of unoriginal tripe. Various formulas, some of which don't make sense in the context of the movie, are spliced together without concern for whether they provide reasonable entertainment. The drug-dealer subplot is especially out-of-place. And, of course, there's a skiing competition to be won.
Probably the biggest failing of Aspen Extreme is its characters. Movies that try to be dramatically effective need a three-dimensional population, not the group of stock, made-to-order people who inhabit this film. They can't grow, because there's nothing for them to grow into. The only way we know they've changed by the end is because there are lines of dialogue to tell us this.
Perhaps experienced actors would have helped, but I doubt it. Although none of the principles are great performers, they're likeable and energetic, making up for range with enthusiasm. While that the lack of talent might hurt a better movie, here it actually helps lighten the load.
Ultimately, Aspen Extreme is a predictable, pointless melodrama -- a kind of Top Gun in the snow. Ski enthusiasts might be tempted to see the film based on subject matter alone, but, unless they're undiscriminating about the quality of their movies, I would caution against it. Even as vicarious entertainment, Aspen Extreme is feeble.
© 1993, 1996 James Berardinelli