Adrian Lyne's debut feature ("Indecent Proposal", "9 1/2 Weeks", "Jacob's Ladder" tells a story of four adolescent girls dealing with the conundrums of youth, such as sex, love, drugs, peer pressure and more importantly growing up. Featuring Jodie Foster as Jeanie, the alpha female of the pack, protectively trying to care for her tightly knit group, shielding them from harm. Despite her best intentions each girl has her own paths and at best Jeanie can offer support, but not ultimate solutions to youthful angst and self-destructive tendencies of her crew (especially with the troubled Annie played by Cherie Currie).
Ploddingly plotted Lyne's movie offers a realistic portrayal of teenagers on the verge of adulthood, albeit one as intriguing as watching a reality TV show about four average teenagers talking, drinking, partying and supplying occasional mindful commentaries. Despite an endearing lead in Foster (not helped by distractingly tainted performances of other girls) the movie lazily cruises around Los Angeles through collage of scenes scarcely interconnected with each other. Not the best debut, albeit some promise (essentially regarding Lyne's taste for intriguing shots) hid between the underwritten script and chaotically directed movie (ending with disjointed jumping between a morbid car crash, a wedding and finally an errant soliloquy near a grave). The sleepy score by Giorgio Moroder doesn't help matters, ergo enhancing my incessant focus problem, finding myself drifting away from the movie and its story to think about tomorrow's dinner, unfinished work or dissecting Jodie Foster's movie career...
Ploddingly plotted Lyne's movie offers a realistic portrayal of teenagers on the verge of adulthood, albeit one as intriguing as watching a reality TV show about four average teenagers talking, drinking, partying and supplying occasional mindful commentaries. Despite an endearing lead in Foster (not helped by distractingly tainted performances of other girls) the movie lazily cruises around Los Angeles through collage of scenes scarcely interconnected with each other. Not the best debut, albeit some promise (essentially regarding Lyne's taste for intriguing shots) hid between the underwritten script and chaotically directed movie (ending with disjointed jumping between a morbid car crash, a wedding and finally an errant soliloquy near a grave). The sleepy score by Giorgio Moroder doesn't help matters, ergo enhancing my incessant focus problem, finding myself drifting away from the movie and its story to think about tomorrow's dinner, unfinished work or dissecting Jodie Foster's movie career...