MEAN GIRLS (2024)

New student Cady Heron gets welcomed into the top of the social food chain by an elite group of popular girls called the Plastics, ruled by the conniving queen bee Regina George. However, when Cady makes the major misstep of falling for Regina's ex-boyfriend, she soon finds herself caught in their crosshairs.

Mean Girls (2024) brings a familiar tale to the screen, blending the essence of the original film with a musical twist. Directed by Samantha Jayne and Arturo Perez Jr., with Tina Fey returning as the writer, the movie introduces some noteworthy changes to the classic storyline. Despite some shortcomings, the film manages to offer an entertaining experience, thanks in no small part to the standout performance of Reneé Rapp.


The plot remains faithful to its predecessor, following Cady, played by Angourie Rice, as she navigates the treacherous waters of North Shore High School. The screenplay, almost identical to the original, still captivates audiences with its timeless narrative. The inclusion of mediocre musical numbers, however, becomes a focal point of discussion, casting a shadow on an otherwise engaging storyline.

One notable evolution in Mean Girls is the diverse cast, reflecting a shift away from outdated expectations for actresses. The characters, particularly Janis and Regina, exhibit new facets, presenting a more modern perspective on femininity and sexuality. Janis, now more stereotypically feminine, and Regina, portrayed by Reneé Rapp, who brings a seductive and louche quality to the role, contribute to the film's unique charm.


The film's visual appeal is heightened by the excellent choreography of dance numbers by Kyle Hanagami. Cinematographer Bill Kirstein and editor Andrew Marcus collaborate seamlessly to blend musical sequences with montage storytelling, creating an engaging viewing experience. While the songs by Jeff Richmond and Nell Benjamin are witty and energetic, their impact is somewhat diluted by excessive visual and audio augmentation, making it challenging to connect with the characters and story.

One of the movie's standout features is the performance of Reneé Rapp as Regina. Her portrayal, while different from Rachel McAdams' iconic interpretation, brings a new dimension to the character. Rapp's powerful R&B-influenced vocals infuse songs like "World Burn" and "Someone Gets Hurt" with undeniable charisma. Her presence on screen exudes confidence, making her a standout element in the film.


Despite the film's attempt to refresh the source material for a new generation, Mean Girls struggles to resonate with the evolving landscape of teenage culture. The mean-spiritedness lacks the sharpness and authenticity that characterized the original, leaving audiences questioning the film's identity. The age-old narrative arc of the "Burn Book" feels out of place in the era of social media, highlighting a disconnect with the current realities of adolescent behaviour.

The film does have its merits, with a nod to Regina's sidekicks, Karen and Gretchen, portrayed by Avantika and Bebe Wood. Their characters, showing a bit more soulfulness, add depth to the narrative. Auliʻi Cravalho, known for voicing Moana, delivers an impressive vocal performance as Janis, contributing to the overall musical richness of the film.


Mean Girls may not fully capture the biting wit and cultural relevance of its predecessor, but it offers a lively and nostalgia-ridden remake. The movie succeeds in paying homage to the original while introducing some modern twists. If approached with moderate expectations and an appreciation for Reneé Rapp's captivating performance, audiences are likely to find enjoyment in this updated take on the high school classic. 

As times have changed, Mean Girls might not have kept up entirely, but it still manages to deliver a fun and entertaining cinematic experience, fit for a teenage audience.

Mean Girls is in NZ cinemas from January 18, 2023

AQUAMAN AND THE LOST KINGDOM (2023)

Black Manta seeks revenge on Aquaman for his father's death. Wielding the Black Trident's power, he becomes a formidable foe. To defend Atlantis, Aquaman forges an alliance with his imprisoned brother. They must protect the kingdom.

Aquaman and The Lost Kingdom, directed by James Wan, stands at a pivotal juncture in the DC Universe, serving as the concluding chapter for Justice League characters before a planned reboot. The film, although visually captivating, grapples with a plot that echoes similarities to Marvel's Thor Ragnarok, and at times feels like a placeholder than its
own valid story.


The narrative revolves around Arthur Curry (Jason Momoa), King of Atlantis, facing an attack on his kingdom that forces him to collaborate with his deposed brother, former King Orm (Patrick Wilson). This sibling rivalry forms one of the more enjoyable threads in the movie, offering a refreshing standalone adventure. Unfortunately, the film struggles with an overlong and visually cluttered experience that prioritizes special effects over storytelling.

Yahya Abdul-Mateen II, playing the villain Black Manta, is poorly served with limited speeches and character development. The film introduces three major plotlines, including the brotherly conflict, a revenge subplot, and the weaponization of Climate Change. The attempt to merge real-world concerns with a comic book storyline feels like a contortion, reminiscent of Man of Steel's unsuccessful endeavour.


James Wan's direction relies heavily on CGI effects, providing aesthetically pleasing visuals for the audience. Jason Momoa exudes an easy charisma, although his comedic prowess is not his strongest suit. The dynamic between Momoa's Arthur Curry and Wilson's Orm drives the narrative forward, with Wilson serving as a perfect straight man to Momoa's himbo vibe.

The movie, however, falls short in creating high stakes, leaving the audience with a sense that the plot is merely biding time. While Momoa's playful nature adds a layer of fun, the one-dimensional villains and underutilized characters, including Mera and Aquaman's mum (Nicole Kidman), contribute to the film's shortcomings.


The plot's simplicity and straightforwardness, coupled with an overreliance on CGI, further highlight the lack of depth in the storyline. Despite the entertaining moments, Aquaman and The Lost Kingdom fails to establish memorable elements that would linger in the audience's minds beyond a month.

One perplexing aspect of the film is the inconsistent portrayal of Aquaman's family life. The initial montage depicting Arthur Curry as a new dad and ruler of Atlantis largely excludes Mera, his wife, and mother of his child. This inconsistency in editing creates confusion and disrupts the coherence of the narrative.


While the dynamic between Wilson and Momoa provides occasional moments of laugh-out-loud comedy, it proves insufficient to compensate for the film's overall lack of focus. The movie's entertaining aspects are overshadowed by its disjointed storytelling, preventing it from being a memorable or highly recommended experience.

The underwater world, a distinctive feature of Aquaman's universe, struggles to resonate with surface dwellers, and the attempts to create global problems appear disconnected. The montages depicting travel between locations fail to establish a cohesive world, hindering the buildup of stakes and tension.


Aquaman and The Lost Kingdom recycles many elements from its predecessor, including a quest leading to a secret lair in the desert and the discovery of a mysterious island. While the film incorporates clever action moments, it succumbs to the superhero movie tendency of overwhelming scenes with faceless villains, detracting from the main characters.

Aquaman and The Lost Kingdom emerges as an entertaining yet unfocused and unnecessary addition to the superhero genre. The film's visual appeal, charismatic performances, and sporadic moments of humour are marred by a lack of narrative depth, recycled elements, and an inability to create a cohesive and compelling world. While it may offer a fun watch, it ultimately fails to leave a lasting impression or warrant enthusiastic recommendations. 


As the DC Universe undergoes a reboot, Aquaman and The Lost Kingdom serves as a transitional chapter, closing the door on one era of Justice League characters, paving the way for the introduction of a new set of heroes.

Aquaman and the Lost Kingdom was released in NZ cinemas on December 26, 2023