Tag Archives: Mark Waters

Mean Girls-2004

Mean Girls-2004

Director Mark Waters

Starring Lindsay Lohan, Rachel McAdams, Tina Fey

Scott’s Review #1,433

Reviewed July 21, 2024

Grade: B+

Upon its release, I doubt that the creators of Mean Girls (2004) knew how big of an influence the film would become. Not only becoming a box office hit it also became a Broadway musical with a reboot twenty years later.

It’s also one of those films everyone has heard of and immediately knows what it’s about.

After reading a self-help book about high school social cliques, Tina Fey, who stars in it, wrote the screenplay. The book also delved into school bullying and its damaging effects.

Mean Girls the film is intended to be a comedy and skirts over the horror and contempt that is the reality of vulnerable students being picked on by mean girls. I doubt that in real life ‘mean girls’ victims’ would appreciate a comedy based on their terror and ridicule.

A darker version while depressing would also be closer to reality. I took Mean Girls as a fantasy.

Nonetheless, the film is a roaring success if for no other reason than examining the insecurities and hierarchies of the high school (and middle school years) which ninety percent of adults would likely soon forget forever.

This is powerfully done via comedy so that we can all laugh at the over-the-top and hypocritical actions of the characters in different scenarios.

It’s fun to watch because it takes us back to a time in cinema when its star Lindsay Lohan was an up-and-coming sensation, and before co-stars Rachel McAdams and Amanda Seyfried were Oscar-nominated actors.

Cady Heron (Lohan) is a sophisticated yet naïve student, educated in Africa by her scientist parents. When her family moves to the suburbs of Illinois, Cady gets to experience public school and experiences the cruel laws of popularity that divide her fellow students into tightly-knit cliques.

She unwittingly finds herself in the good graces of an elite group of cool students dubbed “the Plastics,” but soon realizes how her shallow group of new friends earned this nickname. They are led by Regina (McAdams), a rich, popular mean girl.

Things quickly go south after Cady becomes smitten with Regina’s ex, Aaron (Jonathan Bennett).

Despite the title, the film is for anyone with teenage angst, a crush on a fellow student, or feeling either left out or part of a group at the expense of other unpopular kids.

The message of mean girls is universal and therapeutic since audiences can cheer along with Cady especially when she exacts her revenge on queen bee Regina in hilarious form.

The cat-and-mouse play between the two characters is merciless and delightful in the cruel measures to one-up the other in pure comical fashion.

Lohan and McAdams deserve kudos for energetically infusing the characters with likability even during scenes when they should be hated.

Cheering when Regina gets hit by a bus never felt so good.

The writing is astounding and surprisingly good with vicious quick wit and humorous scene after scene.

Wisely, the film ends after one hour and thirty-seven minutes which is a perfect length for a teenage comedy. Anything longer might have made it drag because the ending isn’t unexpected or a huge surprise.

Since we assume Cady will emerge victorious, which she does, the conclusion is satisfying and the event hints at a sequel.

The film is peppered with diversity which is also an enormous win. The principal of North Shore High School, Mr. Duvall (Tim Meadows) is black while other ethnic characters appear.

This provides a nice progressive message.

Watching the film twenty years following its release I never expected to enjoy it quite so much as I did. This is a testament to the power of Mean Girls (2004), director Mark Waters, and Tina Fey who create something that holds up well.

(500) Days of Summer-2009

(500) Days of Summer-2009

Director Marc Webb

Starring Zooey Deschanel, Joseph Gordon-Levitt

Scott’s Review #1,002

Reviewed March 20, 2020

Grade: B

(500) Days of Summer (2009) is an unconventional love story that deserves props for being different, but never completely catches fire as a film effort.

What it tries to do left-of-center from most conventional romantic comedies is to be admired, but I did not feel much connection to the characters and the result seemed pointless.

The independent film garnered some praise for being unique and clever, but this is out-shined by a gnawing, forced feeling, like the filmmakers are trying to be edgy for the sake of being edgy, adding in contrived story elements.

The lead characters conveniently both like an obscure band and an obscure artist, throwing them immediately together.

The film is a modest effort but will only be remembered as an indie project with a bit of unfulfilled potential.

When his girlfriend, Summer (Zooey Deschanel), unceremoniously dumps him, greeting card copywriter and hopeless romantic Tom (Joseph Gordon-Levitt) spins into depression and begins reflecting on the year-long relationship the pair spent together, looking for clues as to what went wrong.

As he rummages through the good times and the bad times, his heart reawakens to find what is most important.

The Los Angeles backdrop sets the tone for the five hundred days of Tom and Summer.

Director, Marc Webb, a first-time director at this point, now known more for The Amazing Spider-Man reboot franchise (2012-2014) steers in an experimental direction.

Shown somewhat like a “year in the life” of the young lovebirds blossoming relationship, the film is presented in a nonlinear narrative, jumping between various days within the five hundred days of Tom and Summer’s relationship. There is an on-screen timer showing the day, which is a nice addition.

Props are given for the creativity Webb infuses. The romantic comedy genre, not my favorite, is constantly saturated with formulaic films, predictable from the start.

Frequently told from the female perspective, (500) Days of Summer tells the story from the male perspective, even reversing the traditional gender stereotypes. Tom is the lovesick romantic, and Summer is the rough-and-tumble, one-night-stand type.

This is nuanced and throws the entire genre upside down.

The characters are questionable and the ablest to relate to is Tom. There is some confusion and mystery with some motivations. The audience can understand how Tom falls head over heels for Summer, immediately smitten.

His depression is deep and to be taken seriously, but he is depressed because of Summer, and any history or previous causes of depression are not mentioned. It feels like his depression is a convenient way of adding a story element.

Summer is even more perplexing and not deeply explored. Is she merely playing the field? After a song and dance scene where she explains she is not looking for anything serious and wants a casual romance, she suddenly marries another man.

She hurriedly tells Tom that she discovered her husband was her true love and that she now believes in love, whereas Tom doesn’t anymore.

Again, this feels more like storyline-dictated writing versus anything character-rich.

Despite receiving a Best Screenplay Independent Spirit Award nomination, two Golden Globe Award nominations, and oodles of praise, (500) Days of Summer (2009) is a non-conformist piece with some nice moments but feels irrelevant.

The lead actors are talented and do a decent job with the material given, but meander through the experience since it is more about the film than the acting.

The result is not a pure dud, but neither is it a pedigree winner.

Independent Spirit Award Nominations: 1 win-Best Feature, Best Male Lead-Joseph Gordon-Levitt, Best Screenplay (won)

Sorry, Haters-2005

Sorry, Haters-2005

Director Jeff Stanzler

Starring Robin Wright

Scott’s Review #787

Reviewed July 12, 2018

Grade: A

Sorry, Haters (2005) is a small, indie film that was not well received by audiences or necessarily by many film critics, but that I am a champion of.

The film is a little-known gem and a showcase piece for star Robin Wright, who has become quite the indie queen over the years. Thankfully, the film did receive some recognition via two independent film nominations, which is how I heard of it.

Regardless, Wright gives a fantastic performance as a troubled television executive who becomes involved with a Muslim taxi driver in New York City, panic-stricken post 9/11.

Ashade (Abdel Kechiche), struggles with driving a cab and the myriad of family issues he faces, including legal troubles. When an upscale, white woman, Phoebe (Wright) enters his cab one night, she insists on forging a friendship, but what is her motivation?

She immediately seems slightly unbalanced and tense.

Reluctant, but needing her help, Ashade’s life becomes entangled with hers as Phoebe offers Ashade assistance. But when her true motivations are revealed, the audience will never see the terrific and terrifying conclusion coming.

The film is very dark in tone and hardly a feel-good film. The best facet of Sorry, Haters is the complicated relationship between Phoebe and Ashade and how this plays out within the story.

More accurate is the complex dynamic of Phoebe herself as her motivations are slowly revealed.

As great as Kechiche is, the standout is Wright, but both play well opposite each other. Her role is more developed and the centerpiece as the audience slowly becomes aware of her dark secrets and disturbing behaviors.

Phoebe immediately claims to be going through a divorce and hires Ashade to drive her to nearby New Jersey to observe her ex-husband. She talks his ear off, recounting how she has lost her family. This scene becomes the first clue that Phoebe may be unbalanced.

As the film progresses, this becomes more obvious. As Phoebe dines with colleagues, she engages in reluctant conversation as she violently cuts her leg with a fork underneath the table for some relief.

Wright can do no wrong as an actress appearing in numerous films over the years. She is not a “box office” type of actress and this is to her credit.  She chooses independent films that allow her to sink her teeth into good, meaty, complex, female roles.

The role of Phoebe is of that ilk. The character is unstable and borders on madness and has rage bubbling under the surface. Wright portrays these emotions successfully.

Let’s not forget the other leading actor- Kechiche is purely dynamic in the male leading role. The audience will undoubtedly sympathize right away with this man and the character.

Since the period is so close to the events of 9/11, and the character is Muslim (some big clues to the climactic conclusion here), the man is a prime target for discrimination.

Since his brother is imprisoned and needs a legal team, Ashade is quite vulnerable and ultimately at Phoebe’s mercy.

The interesting dynamic between Phoebe and Ashade is that they do not share a romantic relationship at all. Developing a friendship based on need, there is something not right with the situation, and director Jeff Stanzler provides the appropriate mood with many scenes occurring either at night or in the confines of Ashade’s taxi.

Dialogue frequently seems awkward between the two.

Despite not being an easy film to watch, Sorry, Haters (2005) is a film with a powerful message and great scenery of one of the most vibrant cities in the world.

The film is dark, even dour, but above all contains a powerful message with a timely subject matter. Rich in character development between the leads and the maniacal motivations of some.

I found the film to be topical, riveting, and disturbing.

Independent Spirit Award Nominations: Best Female Lead-Robin Wright Penn, Best Screenplay

Vampire Academy-2014

Vampire Academy-2014

Director Mark Waters

Starring Zoey Deutch

Scott’s Review #482

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Reviewed September 18, 2016

Grade: C

Vampire Academy (2014) is a teenage intended mixture of Harry Potter meets Heathers meets Twilight. It is escapist fare and is quite light, but rather fun in an amateurish way.

I am certain the target audience is of the teenage, female persuasion, but when traveling one can be limited in film options.

Hence, on a chilly night in Norway, this film kept us occupied.

The story features a half-human-half vampire named Rose, a teenage girl, who aspires to be a guardian, and who is called back to a boarding school to uncover a hierarchical web of secrets, lies, and plots.

She is accompanied by her best friend Lissa.

Predictably, there is a romantic angle to the story as Rose has feelings for Dimitri, a fellow guardian.

The film itself is fine- it knows the demographic it is going for and young adults are sure to enjoy the compelling drama, likable leads, and attractive cast.

From a film critique standpoint, there is nothing wrong with the film, but it is a bit generic and slightly predictable- from the romantic perspective, though impressively the ending is a bit of a surprise and a whodunit.

Impressive also is Sarah Hyland (Modern Family), as nerdy classmate Natalie, who seems to be the brains and the keeper of gossip throughout the academy.

The role is against type for the young actress and she does very well.

It is tough not to compare this film to the Harry Potter series of films since many aspects of Vampire Academy mirror Harry Potter- only with a female in the driver’s seat. The mysterious teachers and characters are also reminiscent of the fantastical Harry elements.

Unfortunately, a planned sequel was scrapped due to a lack of interest, which surprised me. I would anticipate a film like this to be a hit and perhaps introduce a franchise, but not to be.

An adequate young adult film that borrows from other films and also harkens back to the days of teen-minded genres of the past, specifically the 1980’s.