When Lily (Analeigh Tipton) transfers to scenic Seven Oaks three strange but charismatic young women approach her like a girl gang in matching sweater sets. Although Lily doesn't need help with her wardrobe or men Violet (Greta Gerwig) Heather (Carrie MacLemore) and Rose (Megalyn Echikunwoke) recruit her to live with them hang out with them and join them in their efforts to thwart the school's "atmosphere of male barbarism." It's not actually barbaric; it's a fairly normal upper class liberal arts college but to these girls one of whom has such delicate nostrils that she freaks out at the slightest hint of BO we'd be much better off returning to an classier era. Seven Oaks which used to be a women-only campus is a veiled reference to the Seven Sisters colleges some of which like Vassar have gone coed.
With Violet as a slightly awkward ringleader the trio has very strict ideas of what's proper and what's not what kind of behaviors lead to depression and general uncleanliness and what will most enhance each person's happiness. They set out to do this by avoiding handsome men and going for fixer-uppers and offering depressed students tap dancing classes and fresh-smelling soap. However even though Violet's biggest dream is to kick off "an international dance craze " something she assumes will benefit many people on a wider scale than their college-level suicide interventions they all seem sort of depressed. Is it anthropological curiosity that motivates Lily the loneliness of a new school or as with the audience the sort of weird charm shot through sadness that Violet possesses?
Fans of Whit Stillman's talky thinky upper crust movies are overjoyed that the writer/director has returned after 14 years but what will about newbies? Damsels in Distress is somewhat perplexing; there are a few too many characters and subplots that are introduced and then dropped like the young woman whom the gals take in briefly after a suicide attempt. The film brings up questions about identity the ways we lie to ourselves but leaves them dangling. We're given details about who Violet really is in an insightful and startling subplot that could have given the movie a slightly weightier tone but then it shifts back into Stillman territory. To be fair that's why we're watching in Damsels to begin with; the random excursions into the outside world of actual mental illness heartbreak and financial or personal struggle have no real place in Stillman's lovely bubble. In the end it's not clear if there's some greater thrust to the movie some sort of lesson that the protagonists and viewer should be taking away from it all but if we're allowed to turn off our brains for mindless action fodder and enjoy it why not do the same for hyper-literate modern dandies in a world of dance classes and sunny college campuses?
It's also buoyed by a strong cast led by Greta Gerwig and Analeigh Tipton with enjoyable performances by Echikunwoke and would-be suitor Adam Brody as well as excellent costumes that combine the modern look of liberal arts colleges with the perfectly preppy wardrobe of the three girls and occasional dance numbers. Small touches like Audrey Plaza as a wild-eyed and -haired tap dance student referred to as "Depressed Debbie " Gerwig's stoic face even when referring to her breakdown as being "in a tailspin " and a sight gag here and there serve to remind us that Stillman and his team aren't fumbling in the dark here; they're perfectly aware of how enjoyably goofy Damsels is. It's no accident that their college offers a class called "The Dandy Tradition in Literature" that focuses its studies on Evelyn Waugh and others as obsessed with the leisure class as Stillman.
Last year director Garry Marshall hit upon a devilishly canny approach to the romantic comedy. A more polished refinement of Hal Needham’s experimental Cannonball Run method it called for assembling a gaggle of famous faces from across the demographic spectrum and pairing them with a shallow day-in-the-life narrative packed with gobs of gooey sentiment. A cynical strategy to be sure but one that paid handsome dividends: Valentine’s Day earned over $56 million in its opening weekend surpassing even the rosiest of forecasts. Buoyed by the success Marshall and his screenwriter Katherine Fugate hastily retreated to the bowels of Hades to apply their lucrative formula to another holiday historically steeped in romantic significance and New Year’s Eve was born.
Set in Manhattan on the last day of the year New Year’s Eve crams together a dozen or so canned scenarios into one bloated barely coherent mass of cliches. As before Marshall’s recruited an impressive ensemble of minions to do his unholy bidding including Oscar winners Hilary Swank Halle Berry and Robert De Niro the latter luxuriating in a role that didn’t require him to get out of bed. High School Musical’s Zac Efron is paired up with ‘80s icon Michelle Pfeiffer – giving teenage girls and their fathers something to bond over – while Glee’s Lea Michele meets cute with a pajama-clad Ashton Kutcher. There’s Katherine Heigl in a familiar jilted-fiance role Sarah Jessica Parker as a fretful single mom and Chris “Ludacris” Bridges as the most laid-back cop in New York. Sofia Vergara and Hector Elizondo mine for cheap laughs with thick accents – his fake and hers real – and Jessica Biel and Josh Duhamel deftly mix beauty with blandness. Fans of awful music will delight in the sounds of Jon Bon Jovi straining against type to play a relevant pop musician.
The task of interweaving the various storylines is too great for Marshall and New Year’s Eve bears the distinct scent and stain of an editing-room bloodbath with plot holes so gaping that not even the brightest of celebrity smiles can obscure them. But that’s not the point – it never was. You should know better than to expect logic from a film that portrays 24-year-old Efron and 46-year-old Parker as brother-and-sister without bothering to explain how such an apparent scientific miracle might have come to pass. Marshall wagers that by the time the ball drops and the film’s last melodramatic sequence has ended prior transgressions will be absolved and moviegoers will be content to bask in New Year's Eve's artificial glow. The gambit worked for Valentine's Day; this time he may not be so fortunate.