If director Tommy O'Haver's second feature (after the charming Billy's Hollywood Screen Kiss) is mostly predictable at least he doesn't waste any time getting to the good parts. O'Haver is actually up to something quite clever here--having made a teen flick for his own generation--and therein lies some of the problems. You have to really be in your thirties (or so) to fully appreciate a long-awaited homage to the Captain and Tennille; ditto the songwriting female lead who is more of an aspirant Laura Nyro than Debbie Gibson or--heaven forbid--Britney Spears.
While market forces obviously dictate targeting a teen audience, O'Haver tips his hand a bit more toward an adult humour; this unreconcilable mix leaves the film feeling at times restrained and reigned in when it should be soaring. O'Haver has made a nostalgic teen film for adults with his tongue firmly in his cheek--one wonders what contemporary teens would make of this. Though stylish, it doesn't really speak to their zeitgeist.
Still there's plenty to enjoy not the least of which is Kirsten Dunst, not only the most luscious ingenue going but also a talented actress with genuine warmth and a generous spirit. Dunst takes a bit of a backseat here but when her moment arrives it's a heartstopper. If her presence, sophistication and all around loveliness tends to unhinge and unbalance the plot (she could easily make ANYONE forget their girlfriend), her performance does offer an interesting contrast with Lux in The Virgin Suicides (a film where she is just achingly beautiful and sensual). What little she has to do here she does with aplomb and doesn't seem at all concerned about sharing the screen with others--it's a lovely, relaxed and gentle performance.
Ben Foster is a likeable lead, completely cast against type in the role of a high school jock dumped by his A-list girlfriend--a subtle revisionism on the high school hero. Another director might have cast Heath Ledger in this role (or someone similar); Foster isn't even Jesse Bradford. But he's convincing and plays out the fantasy that we all have about what high school would've been like if only we'd asserted ourselves and didn't let anyone push us around. His deadpan, tough guy expressions are the type that one spends the whole of their twenties perfecting in front of a mirror. Martin Short only makes one long for the star that O'Haver made in Screen Kiss--it's not difficult to imagine the difference Sean Hayes (Jack from Will & Grace) would've made in the role of the deeply misguided drama teacher. It's a lightness this film could've used instead of Short's unfunny, forced dry husk of a performance. Sisquo gives a nice understated performance with a surprisingly long fuse while we wait for him to do his full-on James Brown mini-me acrobatics--what else would you expect of this firecracker in a supporting role? It's a nice, vibrant touch and if O'Haver and his legion of producers don't exactly see eye to eye, there's always the fabulous hands in the air, hip-swivelling closer of Earth, Wind and Fire's "September" covered by Sisquo and Vitamin C with the full cast decked out, glammed up and ready for Saturday night. It's a song full of nostalgia for another time that is probably wasted on teenagers of the day but still remains well within reach of this 36 y.o.'s walkman. Worthy.
While market forces obviously dictate targeting a teen audience, O'Haver tips his hand a bit more toward an adult humour; this unreconcilable mix leaves the film feeling at times restrained and reigned in when it should be soaring. O'Haver has made a nostalgic teen film for adults with his tongue firmly in his cheek--one wonders what contemporary teens would make of this. Though stylish, it doesn't really speak to their zeitgeist.
Still there's plenty to enjoy not the least of which is Kirsten Dunst, not only the most luscious ingenue going but also a talented actress with genuine warmth and a generous spirit. Dunst takes a bit of a backseat here but when her moment arrives it's a heartstopper. If her presence, sophistication and all around loveliness tends to unhinge and unbalance the plot (she could easily make ANYONE forget their girlfriend), her performance does offer an interesting contrast with Lux in The Virgin Suicides (a film where she is just achingly beautiful and sensual). What little she has to do here she does with aplomb and doesn't seem at all concerned about sharing the screen with others--it's a lovely, relaxed and gentle performance.
Ben Foster is a likeable lead, completely cast against type in the role of a high school jock dumped by his A-list girlfriend--a subtle revisionism on the high school hero. Another director might have cast Heath Ledger in this role (or someone similar); Foster isn't even Jesse Bradford. But he's convincing and plays out the fantasy that we all have about what high school would've been like if only we'd asserted ourselves and didn't let anyone push us around. His deadpan, tough guy expressions are the type that one spends the whole of their twenties perfecting in front of a mirror. Martin Short only makes one long for the star that O'Haver made in Screen Kiss--it's not difficult to imagine the difference Sean Hayes (Jack from Will & Grace) would've made in the role of the deeply misguided drama teacher. It's a lightness this film could've used instead of Short's unfunny, forced dry husk of a performance. Sisquo gives a nice understated performance with a surprisingly long fuse while we wait for him to do his full-on James Brown mini-me acrobatics--what else would you expect of this firecracker in a supporting role? It's a nice, vibrant touch and if O'Haver and his legion of producers don't exactly see eye to eye, there's always the fabulous hands in the air, hip-swivelling closer of Earth, Wind and Fire's "September" covered by Sisquo and Vitamin C with the full cast decked out, glammed up and ready for Saturday night. It's a song full of nostalgia for another time that is probably wasted on teenagers of the day but still remains well within reach of this 36 y.o.'s walkman. Worthy.