Somewhat charming but fleetingly entertaining and heavily relying on clichés, stereotypes and the attractive looks of its young cast to appease its target audience, "She's All That" is nothing more than a teen-based retreading of George Bernard Shaw's play, "Pygmalion."
If that work isn't overly familiar to you, think of the plots of films such as "My Fair Lady," "Pretty Woman" (which is even referenced here) and other films (including, of course, the award winning 1938 film of the same name) where a character with ulterior motives helps transform the "ugly duckling" character into the beautiful, educated, or socially adept "princess."
Noting the popularity and success of those films, one can't entirely fault feature film first-timers director Robert Iscove (a TV veteran who did the recent "Cinderella" TV movie) and writer Lee Fleming for wanting to mine some of that story gold. To their credit, they've successfully molded the basic, but familiar plot structure into a teenage setting.
That said, however, only momentary moments of imagination and intelligence lift this beyond the all too typically stupid teenage comedy. Now, before you teens out there get yourself worked up into a lather over that comment, I should point out that I've enjoyed many films of this genre -- such as "Sixteen Candles," "Fast Times at Ridgemont High, etc... -- and know that they can be fun, enjoyable and highly entertaining when done correctly.
Although this one occasionally works in those regards and shows some limited signs of imagination -- including a decently constructed flashback moment where the characters walk between and amongst the two settings -- most of it shows little or no forward momentum or urgency, and is filled with too many contrived, clichéd, and inconsistent elements for its own good.
Unless you've never seen a movie before, there's little doubt that our hero will fall for the girl, that she'll soon learn of his earlier instated, gambling-related ruse and they'll subsequently fall apart, but ultimately will get back together again. It's a tried and true formula that's appeared in countless films -- some successful, some not -- but this one can't entirely escape the many problems that plague it.
For starters, the two lead characters, despite their charming good looks, simply don't have enough honest or realistic time together to make their sudden relationship and newfound love believable. While we're supposed to accept it simply because we see it quickly evolve on screen, it feels artificial and forced, as does the thought of the caring and insightful Zack ever dating the completely incompatible, "mega-bitch" Taylor.
Then there's the magical metamorphosis of the female lead -- an element that's endeared many other films in the hearts of moviegoers -- but similarly feels too artificial and rushed here for anyone to buy into it completely.
As initially portrayed, Laney is the typical and clichéd social outcast -- this time with a passion for art -- but her transformation and comfortable acceptance of suddenly being the hip, social star occurs much too quickly and without the proper rough edges.
Case in point, a girl like this, no matter how successful the transformation, wouldn't be caught dead at the prom -- the complete antithesis of her entire being and philosophy until the last several weeks -- unless she had a strong point to make. Unfortunately, she only appears there because that's where the plot -- plodding along without much momentum or energy -- has decided the characters should appear for the big confrontational finale.
Although a nicely choreographed and fun techno-pop dance number takes place there -- and is easily the film's highlight -- Iscove and Fleming have otherwise resorted throughout the film to the standard high school material -- the haves and have nots, the absentminded parent who finally imparts some wisdom, etc... that's permeated countless other films.
Of the few moments where they do go out on a limb, however, such as one featuring a modern dance spoof and a scene involving a pizza, some pubic hair and the consumption of the latter -- which is gross in a "There's Something About Mary" type fashion, but certainly not as outrageously funny -- just don't work as well as intended.
The film's saving grace is its attractive cast, and who better to play the BMOC than recent heartthrob Freddie Prinze, Jr. (from the "I Know What You Did Last Summer" films). While his character clearly isn't developed enough to make him entirely believable, Prinze does a fine job of making him seem like a nice and caring guy. Even so, this could be the beginning of his breakout role from teen-based films into the status of leading man parts.
Meanwhile, Rachael Leigh Cook (whose had small parts in films such as "Living Out Loud" and "The House of Yes") is cute enough for her part, but likewise suffers from too many contrived characteristics. The same holds true for performers such as Jodi Lyn O'Keefe ("Halloween: H20") and Paul Walker ("Varsity Blues"), who play the stereotypically annoying snobbish girlfriend and best friend respectively, and can't do much with their clichéd characterizations.
Occasionally amusing and charming, the film is competent enough to entertain its target audience, but doesn't do much beyond relying on its plot's thoroughbred heritage. Certainly not on par with the best teen comedies, the film will most likely make a quick run at the box office before quickly retiring to the rental shelves of your local video store. We give "She's All That" a 3 out of 10.
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