Hot on the heels of Jaded, a bad lesbian stalker flick, comes Kate’s Addiction (via the same video distributor), a not-bad lesbian stalker flick.  Okay, so it’s not Bound or anything, but at least, unlike Jaded, which was a total mess, Kate’s Addiction knows it’s pure exploitation and everyone involved seems to be in on this fact.  This is a promising start—having all your actors behaving like they’re in the same movie.

    The Kate of the title is played by Kari Wurher, probably best known as one of the 173 people that were regulars on “Sliders” after the original cast started leaving.  The Addiction in question is Sara, played by "Dweebs"' Farrah Forke, a college friend of Kate’s whose plans to get married to the conservative Jack and stay permanently in New Orleans are interrupted by Kate’s arrival at her place.

    Unbeknownst to Sara, Kate’s girlfriend Zoe (Radford in a superior frantic performance) is also tagging along, and when Zoe’s attempt to mug Jack of the wedding ring he just bought go awry, Kate steps in and offs him.  The grief-stricken Sara doesn’t really have the emotions to disagree with Kate’s decision to move into his place in an effort to console her.

    Months pass, and Sara continues to be oblivious to Kate’s advances, and soon enough, she’s met a man and the process begins anew.  Sure enough, bodies start dropping and it’s final confrontation time.

    While I’m sure that GLAAD won’t be nominating this for any awards any time soon (the only lesbians on the film are a psychopathic killer and a dangerously devoted screeching girlfriend) and there’s not any nudity on display (sorry, folks), Kate’s Addiction is still a mildly entertaining flick.  The dialogue is crisp and relatively believable, the awkwardness of certain situations is well-displayed, and Wurher just swallows her role whole, chewing scenery to the best of her ability.

    First-time director Eric Delabarre shows a certain flare as well.  Moments are punctuated with nicely-done negative-shot flashes, and the use of sound fade-outs in key moments come across as quite effective.  Okay, so it’s predictable, Forke is never more than a vaguely tolerable character and the middle is a bit of a bore, but there’s enough twists and clever moments to hold one’s interest for an hour and a half.  My compliments to Avalanche, who’ve managed to make the box art even sleazier than that of Jaded.