1. Gary (Lawrence Monoson), THE LAST AMERICAN VIRGIN
While the movie may have tried to paint Gary as some valiant lovestruck white knight, what they instead showed audiences was that Gary was a pathetic, needy, sad sack stalker who Karen (the object of his creepy affections) should have taken a restraining order out on. He immediately became oddly fixated on Karen the instant he saw her and lied, schemed and even vandalized her property to spend time with her to no avail because Gary was a creepy loser. The best thing about THE LAST AMERICAN VIRGIN and why I love it so damn much is the ending. Over the course of the film Gary manages to weasel his way into Karen’s life by playing the role of her hero when she gets pregnant. Thinking that using her time of need to worm his way into her good graces would automatically mean he won her heart turned out to be a bad assumption on Gary’s part and once she got Gary to pay for her abortion Karen went back to the guy who knocked her up in the first place. Those scenes are pure magic:
In my head I always envisioned that Gary kept driving right out of town, met a new group of friends who could barely tolerate him, went on a weekend getaway with them one summer and ended up being taken out by Jason Voorhees in a perfect example of a mercy killing.