Mean Girls

Mean-Girls-(2024)
Mean Girls (2024)

In this case, the criticism and the marketing choices can be oh so easily overlooked. Get in, loser!

There was a time I thought the world needed saving, a time that I felt was 2004, before watching a clip from Taylor Swift: The Eras Tour came out, and something began to awaken. Something Ancient. All the musical theatre phase that I had been able to repress for years came reeling back into my mind at the Odeon New Street and I started freaking out. How on earth do I suppress this now? It felt like needless ranting no, wrenching.

Instead of watching, I turned the opportunity quite the other way. I wanted to expect from this. Just a tad. Perhaps this will be the reboot that doesn’t suck, one which is in favor of the original, one which isn’t incentive based on headcounts and offers a unique take on a classic tale.

We believe it’s alright to admit that Mean Girls (2003) is a cementing point of a lot of pop culture as we have it today, and has in fact burgeoned over the years. Both are just based on Melissa Silverstein։ Erica Omens‘s Rosie to Writer Ball songs to queer womanism. The narrative was incorporated into the book of Queen Bees and Wannabes. Junior high social hierarchies were featured in the 2002 novel, written by Rosalind Wiseman. This was released in May 2004 exactly one year after the publication of the original film, and where an adapted script was developed in 2003 with the great majority of the script being created by Tina Fey Mean Girls. Musical adapted at the venue’s Broadway premiere in 2017, which was the work of Nell Benjamin and Jeff Richards Heading the adaptation combined work with the title Ms. Rapp Remembered Mean Girls as well as headed by her at the age of 19 when she played Regina George. This will not change how big the numbers of the remakes ‘Mean Girls’ pants. Now yes, it became possible to film the much-expected remake in 2024, but why did it happen? The first part is still loved, the second part maintaining the weight within the world ‘There are people making musicals everywhere, So Much Love Sounting in London comes out this June, and Rotterdam Yes Interval Last. However, one could appreciate the remade film if in fact one was familiar with and appreciated the main source material, and with the utmost pleasure.

It’s a pleasant surprise that the film is both creative and skillful, and enhances the plot which is now somewhat predictable. The social media aspect is also integrated well, even if there are some parts that are a little cringe. The devices – phones, TikTok, messages, and the music video mode of in media res – work so well; there was a fear that the film would be out of touch and too ‘millennial’, but it seems to understand and play into the kind of Gen Z humor that Netflix would love to get. Social media montages are overdone, but effective, and have some gags hidden in them, like Karen’s caption on her Halloween TikTok where she wrote #holloween. The costumes fit in well with the time, but would probably seem old-fashioned soon owing to the shorter turnover time for trends- perhaps had the movie gone back to original Y2K styles, it would have been a means to avoid this. The camera angles and scope are however very impressive; the shots synchronize with the over-the-top choreography and exciting movements to enhance viewer engagement. The film is certainly well conceived, shot, edited, and feels like a labor of love which is certainly evident in the final product.

In addition to this, a majority of the cast perform exceptionally well with their roles- Bebe Wood in her role as Gretchen is charming, while Avantika Vandanapu in her role as Karen is simply hilarious.

The truth does not change, however. Mean Girls is a musical that has a big chip on its shoulders. It certainly has its moments, but when every 2000 hit song that gets an updated version turns out to be below average standards, it might not be saying much. The impression that one gets from the trailer is that the producers wanted to divert their audience’s attention away, not towards, this aspect, which was very foolish of them. Surely there is Campness or Satire in the film, which Musicals are supposed to use to the Nth degree, but these are rare rather than the rule. And then there is also Cady Angourie Rice, whose very convincing acting one could ostracize if necessary. For her performances, Rice can’t be paid off in any way. While deep in one of the frills, No sources can fulfill the full depth of her voice naturally more suited to calmer music. There are numerous scenes where Cady is singing, all of which require a strong singing voice, abundant experience, and extensive training, and unfortunately, Rice does not have what it takes to compete with greats such as Rapp and AuliÊ»i Cravalho, who is cast as Janis. Casting a mezzo-soprano for a musical theater production is probably one of the most popular choices that every director makes.

Verdict:

Mean Girls: The Musical is fun; the film Mean Girls (2003) is an evergreen comedy; Mean Girls (2024), is a transition mess between those two masterpieces. This time, the work is, in fact, neither needed nor superior to the rest put out. Yes, it is inclusive, it is appealing, there is even self-effacing humor that adds to its currency and is very well executed. It appears that the creators could not reach a consensus on what to focus on hence went to the ‘safe’ fix. Doing so would have resulted in a more audacious and unqualified picture- this one is playing it too safe. Other than this the film’s cast’s strong singing and performances are enough to recommend it, and some less-than-perfect aspects can also be forgiven since the picture is very good. Perhaps it will achieve a cult status; it is more normal that it will be left to gather dust in the bad remake hub, but one hopes to be at the parlors for the sleepover.

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