Rachel McAdams is the winner of the show, think about it, she, her character goes through everything, in this film.
The director Mark Waters, I know, is responsible for this coming-of-age or teenage dream film. But I am going to slide this credit over to the writer; she adapted the screenplay from a book, Tina Fey. Especially after what she has done now. To any of you who don’t know, what she has done now, is brought this film into theatre. A musical show that is successfully rocketing upwards with groovy songs and the already hyped up fame that was received from this very film. Coming back to the film. Tina Fey’s nuanced and easily adaptive humor is the only reason I stuck around to this infamous pop culture film. Why?
Despite a tangible concept, something that we all can resonate with, the film somehow alienates us and the characters as well. What remains safe at the end of the day are just the characters. That loneliness is unforgiving. Everything else is forgiving. The script is written in a way to be sealed as a time capsule. What it forgets while constructing this bulletproof idea, the get out clause, is the world they are surrounded with. And the Fey tries immensely to ground them into reality, by keeping them in contrast with their parents.
But this obligatory section is barely fulfilled satisfactorily. What they get is a pitiful nod from us. So why does it still work? I think it is because of the fantasized revenge-driven character of the film that Fey paints such intricately. And then there is the casting. Rachel McAdams lives up to the centered role she is given. She is a supporting character, still there is not a doubt where she doesn’t own the scene. With a sassy yet heartwarming body language, the word vomit of the film shouldn’t be Regina George or Mean Girl(s) but Rachel McAdams.