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By Christopher Curry | October 21, 2005

Two of society’s misfits, Destiny Rutt and Scott Bushey, not-so-miraculously find one another in and amidst their pathetic and dead end existences. Destiny longs to be crowned Miss Hope Springs (a town most noted for having the world’s largest parking lot) and Scott aspires to become the first white HIV-positive rapper, “T-Cell.” Neither hopeful possesses talent of any notable degree, and they spend most of their time supporting and coaching one another in their chosen fields. Their hearts are in the right places.

As things follow along, Destiny develops a crush on Scott. Of course by this point it is obvious that anyone paying any attention at all to Destiny would and could be potential recipients of her love and affections. Big problem though; Scott is gay, and has been ever since he witnessed a caged monkey cramming the ear piece of a pair of “Snoopy” sunglasses up its a*s. These are misfits, remember? Eventually Ms. Destiny gives in and befriends Scott and his cohorts, subsequently becoming the proverbial f*g hag. Oh, and she wins the Miss Hope Springs contest too, but only because all other contestants were either disqualified (one for being a she-male) or dropped out due to death, mutilation, terminal illness or other such mishaps.

“F*g Hag” is touted as being John Waters-like, but only the celebration of the gay community, and a smidgeon of the gonzo dialogue, could possibly be compared to the likes of “Female Trouble” or “Desperate Living”, let alone “Pink Flamingos.” Actually, the film is quite sweet, if not harmless, in its sympathetic treatment of Destiny and Scott, while at the same time sending-up the gay culture and many of its absurdities (i.e. their adoration for Pop star Madonna and the cinematic atrocity “Showgirls”). Sometimes “F*g Hag” is amusing in its slap-happiness, and at other times it is somewhat sad.

One major drawback to “F*g Hag” is the cast and crew’s obvious inexperience. An inexperience that shows itself most often in the editing department, but also in some lackluster performances. The film also boasts some potentially great musical numbers, but again the tenderfoot cast and crew fork over an undercooked product. Sadly, “F*g Hag” is not as great, or as poignant as it could have been (it’s no “Hedwig and the Angry Inch”). But if one takes the crippling budget into account, as well as the fact that these newcomers are ready and willing, “F*g Hag” delivers amicably, even if it is a bit disjointed at times.

Tromatic Extras include: Audio commentary by director Damion Dietz and star Stephanie Orff as well as trailers and other standard Troma whatnots.

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