Director Terry Zwigoff first came to our attention with the excellent documentary “Crumb,” which received the prestigious Grand Jury Prize from the Sundance Film Festival in 1995. Though “Crumb” wasn’t actually his first film (it was his second), it was the first film of his to receive wide distribution. The film chronicled the eccentric life of underground comics artist R. Crumb. The film went on to become the third highest-grossing documentary of all-time, and the comic book theme is one that Zwigoff has revisited throughout his career.

His next feature film was his first foray into fiction — the equally-excellent “Ghost World,” which starred Thora Birch and a young Scarlett Johansson as a pair of misfit teens in suburban Los Angeles. The film was an adaptation of a Daniel Clowes graphic novel, and Zwigoff and Clowes adapted the screenplay together, for which they were nominated for an Academy Award. Also starring in the film is Steve Buscemi, who plays a role absent from the comic book, but that seems to mirror Zwigoff’s real-life persona, particularly the character’s deep affinity for 78 RPM records.

“Ghost World” was followed by “Bad Santa,” an incredibly cynical and incredibly funny skewering of the holiday spirit. Along with “A Christmas Story,” it is perhaps the best anti-Christmas film of all-time. It stars Billy Bob Thornton as a con man, who, every year poses as a shopping mall Santa in hopes of robbing the store he’s working in. Thornton’s character is addicted to both booze and sex, and Thornton claims that during many of the film’s driving scenes, he was actually drunk.

Out this month, is Zwigoff’s fifth film, another collaboration with Daniel Clowes, and another adaptation of a Clowes graphic novel. The film is “Art School Confidential,” and it is Zwigoff’s first major misfire. The film starts out playful, lovingly poking holes in all of the art school cliches, but quickly loses its way in a mundane love story and even lamer sub-plot that involves a campus killing spree. Zwigoff proves he is more adept at satire than just about any of his peers, but for the first time, he proves fallible.

Zwigoff had a great run of films, but it was a streak that simply couldn’t last. “Art School Confidential” does have some good performances however, namely from John Malkovich (also one of the film’s producers), who plays a smarmy painting professor, and who delivers the film’s best line. When asked by the film’s lead about how long he’s been doing the post-modern triangles-on-canvas paintings hanging in his home, he responds deadpan, “I was one of the first.” Funny stuff, but not enough to hold the film together. Jim Broadbent and Ethan Suplee also give good supporting performances.

In a relatively short time, Zwigoff has managed to rack up an immensely interesting body of work. His films are eccentric and offbeat, as are the characters that inhabit them. His legion of loyal misfits, underdogs and cynics will surely forgive his misstep however, as even cinema’s greatest directors have had some real stinkers on their resume. And while “Art School Confidential” may not be a real stinker, it is easily forgettable. Let’s just hope that Zwigoff’s knack for turning comic books into films and his deft touch for satire, will continue to be a niche that serves him well for years to come.

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