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The Girl Next Door 2004 |
Review by Jonathan Cornwell |
Directed by Luke Greenfield
R, 110 min. (strong sexual content, language, drug/alcohol use) |
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Starring: Emile Hirsch, Elisha Cuthbert, Nicholas Downs, Timothy Olyphant, Chris Marquette, Paul Dano, James Remar, Jacob Young, Donna Bullock, Timothy Bottoms
Producers: Harry Gittes, Charles Gordon, Marc Sternberg
Screenplay: Stuart Blumberg, David Wagner, Brent Goldberg
Cinematography: Jamie Anderson
Distributor: 20th Century Fox
Released: 4.09.04 (Wide) |
Rating:
  (out of ) |
Despite The Girl Next Door's seedy material, its ability to be consistently likable is its saving grace. Bolstered by
two terrific lead performances by future stars Emile Hirsch and Elisha Cuthbert, the film's first 45 minutes is so well
executed that its convoluted, exasperating last act can be overlooked as throwaway filler time. I mentioned only one week
ago about the steamy chemistry between the lead characters (Julia Stiles and Luke Mably) in The Prince & Me,
and how strong a bond the two had; now in this film we have yet another big winner in Hirsch and Cuthbert, whose
innocent affections result in as believable a bond as movie characters can exhibit. The film also reveals an edgy, smart
center that confirms its understanding of the high school outsider, and how only through life's hard lessons that maturity
can take root.
Certainly there is room for discussion about the storyline's amoral, somewhat indifferent attitude towards its shady
material. The front and center subject of pornography will undoubtedly draw the ire of many, and there's little doubt
of the uneasiness that creeps into the audience during several scenes. There are also several scenes that could easily have
been excised and remained as razor sharp as intended, however, considering the potential of the subject matter,
it's surprising the nudity component is held to a minimum. Of course, the story is more or less preposterous and must
be taken within the context of its shortsighted ambition; thus the moral abyss it finds itself inhabiting can be tolerated.
Then there's the obvious comparisons to Tom Cruise's Risky Business, which also uses a sexual component to drive its
coming of age story forward. In that film there was a similar awakening for a character who longed, for once, to become
the center of attention. The Girl Next Door is the antithesis of American Pie in terms of the insightful independence
that its characters discover, without the outrageous skits that used humiliation as a conduit for growth. The film bills itself
as "the film for the next generation," and it's an appropriate mantra considering society's evident moral decline. Yet it has
the uncommon ability to inspire amidst the quagmire; whether intentionally or not, the film condones a better life, a
call to our more noble aspirations even as moral ambiguity closes in on all sides.
The film certainly has found some real talent. Hirsch infuses his character's aspiring greatness with a freshness and
vulnerable confidence that isn't easily summoned from actors his age. He first garnered notice with his performance in
The Dangerous Lives of Altar Boys,
as he led a revolt against the rigidity of his Catholic school, and now has established himself as the next star of romantic
comedy. Cuthbert (TV's "24"), beyond her incredible beauty, has an eloquent sophistication that would make most men swoon, much
less accompany her on a date. She plays the temptress-turned-sweetheart to perfection, eliciting the kind of response from
the viewer that supports the film's flimsy but interesting premise. Combine the emerging talents and you have the necessary
firepower to overcome almost any deficiencies inherent in the production.
The story finds Matthew (Hirsch), a high school senior, leader of his student council, on his way to Georgetown, confronting
the unexpected - his newest next door neighbor, Danielle (Elisha Cuthbert), has seduced him with one glance. He finds
himself the victim of spying on her as she undresses across from his bedroom window, and he returns the favor by stripping
for her in the middle of the midnight street. They're both stricken by their mutual innocent affection; that is of course until
Matthew learns of her shocking past - a porn star in search of a better life - from his best friends,
the sex-crazed Eli (Chris Marquette) and the depressed Klitz (Paul Dano). After a botched attempt at taking advantage of
her, Matthew quickly confesses his love for Danielle, except her former employer/boyfriend, Kelly (Timothy Olyphant in a frightening performance), has
returned to claim what he deems as his biggest asset in the industry. This leads to a trip to Las Vegas for a distasteful adult video
convention, and a ludicrous subplot involving the recovery of $25,000 from a school fund intended to bring a foreign
high schooler to America for college. Matthew and Danielle must help each other through the various stumbling blocks that
confront their happiness.
The film inexpicably loses its way during the latter third, mostly because the lead characters have already fallen for each
other completely, and because it refocuses its gaze from Danielle to Matthew's crisis. She simply disappears for long
stretches of the film, which is puzzling since she is clearly the central point of the picture. Director Luke Greenfield
falls prey to trying to do too much, adding the unnecessary weight of subplots including the clichéd prom night,
the effects of first-time drug use, and ridiculous speeches that are meaningless. Thankfully he eventually returns to what
made the film irresistible, focusing its final scenes on the relationship between Matthew and Danielle.
Ultimately the film's salvaging moments of brilliance come from its ability to garner empathy for Matthew's precarious
situations. It's easy enough to envision oneself in his shoes when confronted with the fact that a luminous woman loves
him and he must find the courage to face his fears. The Girl Next Door, despite its weaknesses, puts its romantic
comedy peers to shame with a searing insightfulness that garners enough affection to make it a worthwhile effort.
© 2004 Jonathan Cornwell
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 | Masterpiece - Film perfection |
| Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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