Very Good Girls (2014)
A disclaimer to start: My first (likely only) interaction with Very Good Girls was on a lazy Friday with a collection of my nearest and dearest. Because of their apt commentary they are referenced. Ladies and Gentlemen please welcome to the stage, Amy, Laurence, Rob, Rose and Chris.
Very Good Girls is a coming of age film following the story of two young, attractive, inseparable best-friend virgins Lilly (Dakota Fanning) and Gerri (Elizabeth Olsen) who both simultaneously meet a love interest David (Boyd Holbrook). A fair account of the meat of the narrative which at face value poses a far from The Da Vinci Code subplot, from the off it’s apparent that this film is hardly Inception. Not one to judge, on occasion I am impartial to a little coming of age, young love escapism, providing it’s done well. Though despite it’s desperation, Very Good Girls isn’t actually, very good.
Rob suggested that the film leans towards American independent films’ sub-genre Mumblecore which is characterised by low production budget, amateur acting and naturalistic dialogue. Not the case in terms of amateur actors (perhaps act-ing) or low budget, it’s apparent that Very Good Girls is a misguided attempt at independent film and very much an aspirational shot at naturalistic dialogue.
Over the 91 minutes, it became apparent that perhaps the main Mumblecore attribute which the film embraced wasn’t an attribute but more a literal interpretation. Aptly put “it’s all mumble, and no core!” (Laurence). A mumble marathon, it’s important to note that our TV was double our normal watching volume. Turning my attention away from the compilation of happy-go-lucky country music montages, Team Critic on the sofa show signs of pure unapologetic disgust with half squinted eyes and ajar side mouths all trying to decode just what the two characters are talking about. More Da Vinci Code than I thought. This sea of at-awe facial expression was paired with a constant secondary polar narrative that we jokingly dubbed over the apparent lack thereof on screen. My intention is not to sound cynical, damning or superior, but simply honest. Perhaps a reflection of good company, or a comment on the film as far-from-a-nail-biter, but watching Very Good Girls with friends feels very much like watching a Bill Nigh The Science Guy episode at school: “Fun to pick apart with friends but shit on your own” (Rob).
Although the narrative is told from Lilly’s perspective, a particularly notable moment is when the audience is introduced to Gerri’s side of the story. In a conversation between the two of them, Lilly's friendship is tested. The film had potential to flourish here in an unprecedented turn of events unlike all other feel good American teen movies. Despite this, an evident-from-the-off conclusion is apathetically played out amidst a wash of nonchalant music and montage. What a shame.
Something that frustrated me was the apparent attempt to appeal to a youthful misogynistic male. Not the intended audience member but more of a get-the-ratings-up-because-they’ll-see-it-by-default set of eyes. I’m referring to the repetitive use of the not so subtle symbolic shot of women running (away from their problems) which is constantly recycled like those notepads made from old tyres. Not quite on par with the daughter in Taken who doesn't seem to stop running the entire film, but I'd say about 70% of this film is women-running shots. Tapping into the subconscious of and appealing to: The unwitting boyfriend who apathetically agrees to watch having spent 20 minutes scrolling through Netflix (trust me, it’ll be on there) who declines to comment afterwards due to the shameless quota of stripping, bra-less nipples under loose fitting T-shirts and bouncy female behinds. Need I mention the final shot of the two girls dancing outside in their underwear entertaining a gentle shower (second shower scene) from a conveniently timed garden sprinkler. Looking back, I’m almost embarrassed to have taken note of (or perhaps read too deeply into) an early scene in which a woman with large breasts chooses melons from a market stool. Obviously this is, like basting a turkey at Christmas, an initial forceful attempt at injecting any true meaning into the narrative, supposedly - femininity, youth and freedom.
Never fear ladies, there is a vague attempt at male eye-candy in the form of David - a seemingly desperate attempt at Ryan Gosling enigma (nobody seemed to tell this American heartthrob typecast that there will only ever be, one Gosling).
To conclude, it’s fair to say that Very Good Girls assumes an unintelligent audience with the intention not to challenge, perhaps only in regards to deciphering “what are the characters are saying?” (Rose). Proof in the pudding that regardless of a star-studded cast, (Dakota Fanning, Demi Moore, Clark Gregg) narrative and a strong script are vital ingredients for the success of a fulfilling film. 3/10.
18/01/2015, Candid Magazine