“My dick is going to get so wet tonight ” declares Costa the foul-mouthed ringleader of a trio of sex-starved teens in the opening moments of Project X the new “found-footage” comedy from director Nima Nourizadeh and producer Todd Phillips (The Hangover). Believe it or not this qualifies as one of his more charming moments in the film. All of 17 but blessed with an obnoxiousness lesser men would take decades to cultivate Costa (Oliver Cooper) is the perfect mascot for a film that makes no bones of its mostly prurient intentions proffering what is essentially a succession of debaucherous montages intermingled with uneven attempts at comedy and held together by the slimmest pretense of a plot.
Caustic as he is Costa at least exhibits something of a recognizable personality; the same cannot be said of his two cohorts the tubby dweeb J.B. (Jonathan Daniel Brown) and the earnest blank Thomas (Thomas Mann). None of them seem to enjoy much in the way of popularity at their high school located in the fictional suburb of North Pasadena but Costa has a plan to fix that. On the occasion of his 17th birthday Thomas whose parents have conveniently departed for the weekend reluctantly agrees to host a party that Costa promises will be a “game-changer” for their lowly social status.
Hardly a game-changer is Project X’s script co-written by Matt Drake and Michael Bacall which mostly treads a predictable teen-comedy path. At its outset the party appears to be a bust. Soon however hordes of eager revelers descend upon Thomas’ house and the event swiftly devolves into a festival of wanton hedonism that would impress Charlie Sheen. The orgy of booze drugs and sex is captured by Nourizadeh in one impressively slick sequence after another set to a vibrant soundtrack.
To maintain the guise of an actual movie – and to occupy us between shots of topless beauties downing tequila and frolicking in the pool – Project X tosses in a few familiar tropes to push its story along: an unstable drug-dealer bent on revenge a buzzkilling neighbor seeking to end the night’s festivities prematurely a budding but hesitant attraction between Thomas and his childhood friend Kirby (Kirby Bliss Blanton). But the scenes are so hollow and contrived that you get the sense even the filmmakers don’t buy them and only added them to the film in a transparent ploy to forestall allegations of complete and utter vapidity. The efforts serve only to add a dash of the banal to the proceedings.
Project X’s natural forebears – R-rated teen comedies Superbad and American Pie – tempered their crudity and outrageousness with a surprising degree of depth and sincerity. Moreover they were actually funny. Project X is a shallow affair to be sure but a dearth of laughs is what ultimately dooms it. A belligerent little person who goes on a crotch-kicking spree after being tossed in an oven amounts to the film’s most sophisticated attempt at humor. More often it relies on recycled gags from previous films (including Phillips’ own library from Road Trip to The Hangover Part II) and Jackass-inspired mishaps.
The found-footage approach has proven to be a potent (if overused) tool in horror films but its utility in the service of comedy at least in the hands of Nourizadeh is limited. It mostly comes across as a needless gimmick good for marketing purposes but little else. Perhaps acknowledging as much Project X’s backup plan calls for an incessant raising of the stakes. As the once-innocuous gathering metastasizes into a fully-fledged riot one so dangerous that even the police dare not intervene the specter of parental disapproval gives way to the threat of incarceration and finally to the potential incineration of the entire neighborhood. The scale of the destruction is impressive – especially for such a (presumably) low-budget film – but like much of what precedes it almost entirely pointless.
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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.
Influential country guitarist Chet Atkins died peacefully at his home, according to The Associated Press. Atkins, 77, had been battling cancer for years. In the 1970s Atkins fought off colon cancer, only to face surgery to remove a brain tumor in 1997.
Atkins contributed to and played with many famous acts, including Mark Knopfler, Paul McCartney, Eric Johnson and George Benson. His wife Leona and his daughter Merle survive him. Tuesday morning's funeral will be held at Nashville's Ryman Auditorium, the former home of the Grand Ole Opry.