Take Me Home Tonight directed by Michael Dowse is a comedy about the ‘80s but its futility is timeless: In just about any decade it would be considered generic and unfunny. Set in 1988 it stars the likable and witty Topher Grace as Matt a recent MIT grad with a crippling case of post-college career-indecision. Working as a lowly clerk at a video store he has a chance encounter with his high-school crush Tori (Teresa Palmer) who to his (and our) surprise actually displays faint interest in him. But Matt fails to pull the trigger and so he resolves to make up for his lack of cojones when he sees her later that evening at a party hosted by the preppy douchebag boyfriend (Chris Pratt) of his twin sister Wendy (Anna Faris).
This sets the stage for an eventual romantic union between Matt and Tori; until then there is insecurity to overcome and wacky adventures to be had. Many of the latter stem from the increasingly unhinged behavior of Matt’s best friend Barry (Dan Fogler). The film turns on a bag of cocaine Barry finds in the glove compartment of a Mercedes stolen from the dealership that fired him earlier in the day. Cocaine is renowned for its ability to induce euphoria in even the most mundane of settings but it has arguably the opposite effect on Take Me Home Tonight. I consider Fogler to be a legitimately funny guy but he has the irritating tendency to compensate for underwritten material by wildly overacting. Throw in a bag of blow and that tendency is amplified ten-fold.
A happy standout in the film is Palmer who brings a liveliness and dignity to the stereotypical rom-com role of the Otherworldly Hottie Who Inexplicably Falls for the Stammering Schlub. (It also helps that she's the only member of the main cast who is young enough to realistically portray a recent college graduate.) She is one of the more talented young Australian exports to arrive on our shores in quite some time and has the potential to become a saucier version of fellow Aussie Nicole Kidman. That is if she finds material better than Take Me Home Tonight.
WHAT IT’S ABOUT?
Adapted by Bret Easton Ellis (Less Than Zero The Rules of Attraction American Psycho) from his own 1994 novel about the excesses of the rich and not-so-lucky in Hollywood circa 1983 this shallow film seems out of touch now in a time of economic turmoil — even if it is disguised as a period piece. Presented as a multi-story look at L.A. at its sordid best The Informers introduces us to a sleazy movie executive his estranged wife her poolboy lover a coked-out British punk rock star a fading newscaster a voyeuristic doorman a slimy ex-con and any number of beautiful vapid sexed-up twentysomethings who seem to spend their days either partying or snorting immune to any kind of social consciousness in an era marked by the dawn of the AIDS epidemic.
WHO’S IN IT?
The ensemble cast is split between older stars who’ve seen better days and a promising group of new talent unfortunately caught up in this mess. Billy Bob Thornton sleepwalks through the studio exec role while a pre-Wrestler Mickey Rourke (in a glorified cameo) shows us the kind of dreck he’s been stuck in the last few years as a tough ex-con who seems obsessed with someone called “the Indian.” Kim Basinger survives intact as a long-suffering Hollywood wife looking for a human connection from anyone who crosses her path while Winona Ryder projects just a shadow of her once-promising career as the aging newscaster. The late Brad Renfro who himself apparently fell victim to a drug-induced lifestyle is oddly touching as the peeping-tom doorman. Filling in the lost youth part of the equation are Jon Foster Amber Heard Austin Nichols Lou Taylor Pucci and amusing British star Mel Raido who do the best they can with their clothes on and off. Chris Isaak and Rhys Ifans also turn up in minor roles.
For what it’s worth The Informers has been handsomely shot and does capture emotional deadness well but unfortunately there’s nothing behind the façade of a group of characters we just don’t care about.
Ellis covered this all in Less Than Zero — same era same losers — so did we really need a LESS THAN Less Than Zero in 2009? It’s also a shame to see a fine group of actors so completely wasted both on screen and off.
BEST STONED-OUT LOSER SCENE:
The tenor of the whole film is summed up in the ice cube-filled bathtub sequence where a drunken almost catatonic British rocker proceeds to nearly kill himself trying to light a cigarette and answer a phone that NEVER stops ringing.
NETFLIX OR MULTIPLEX:
This movie may already be available on DVD before you finish reading this review.
Think Mean Girls meets High School Musical meets whatever other high school teen scenario you can think of. Here four teenage girls make up the Bratz contingency each come from different ethnic and socio-economic backgrounds—just like the dolls they are based on. There’s Yasmin (Nathalia Ramos) a quiet Latina beauty with a great voice; Sasha (Logan Browning) the outgoing black cheerleader who loves to dance; Jade (Janel Parrish) a lovely Asian fashionista who also a wiz in chemistry; and Cloe (Skyler Shayne) the tall Caucasian blonde who despite being a klutz is a star on the soccer field. They’ve been best friends forever (or BFF as they lovingly refer to it) but once they hit high school they drift apart and into respective cliques organized by the narcissistic class president Meredith (Cheslea Staub). Still these BFF’s—who live for clothes make-up and hair products—won’t be pushed down. They’re gonna shake things up and prove it’s always best to just be yourself and stick together. You can’t really blame the unknown girls—each very cute in their own way—for wanting to bring the Bratz dolls to life. It’s a big deal! They get to sing and dance and wear all these cool clothes! They get to throw food in a cafeteria lunch fight! They get to serve sweets at Meredith’s Sweet 16 party dressed as clowns and still look fabulous! All the young girls in the audience will idolize them and wish they were a Brat too (perhaps to their parents’ chagrin). No it’s the adults in the movie you have to scratch your head about and ask “Do they really need the money that bad?” Character actors such as Lainie Kazan who plays Yasmin’s wise grandmother and Jon Voight as the inept high school principal and Meredith’s father just embarrass themselves over and over again—especially Voight who along with his mediocre appearance in Transformers has become the go-to guy to star in movies based on toys. And what’s with this latest trend to make live-action flicks based on toys? You can understand Transformers because they already had their own cartoon show and you know the movie would at least be action-packed full of cool visual effects. But a Bratz movie is a little too much. Even though it tries really hard to send positive messages there’s really nothing redeeming about turning little dolls—who frankly dress a little on the trashy side—into flesh-and-blood teenagers obsessed with how they look and dealing with high school politics. Bratz really only distinguishes itself from other Mean Girls-type movies because of the toy franchise. It would have been easier to take had it aired on the Disney Channel.