Sometimes, a modern makeover of a classic is just what we need to explore the shifting dynamics of teen culture. Starring Addison Rae, Tanner Buchanan, and featuring cameos from some familiar faces, He’s All That takes a new spin on the 1999 teen rom-com She’s All That. Set in contemporary Los Angeles, this film dives into the high school world of social media influencers, viral challenges, and the pressure of online personas, all wrapped in the genre of teen romance and drama.
The plot revolves around Padgett (Addison Rae), a social media influencer who faces public humiliation after a messy breakup that goes viral. Determined to bounce back and reclaim her image, she makes a bet with her friend: she can turn Cameron (Tanner Buchanan), the school’s outcast, into the next prom king. Cameron, with his rugged appearance, indifferent attitude, and aversion to the superficial world Padgett thrives in, becomes her ultimate challenge. As Padgett gets to know Cameron, she starts to question the life she has built for herself online and whether image is everything.
One of the strongest aspects of the movie is its casting, particularly Addison, who transitions from TikTok fame to the silver screen. Though her acting is still developing, she brings a certain authenticity to the role of Padgett. Her character’s struggles with identity in the age of social media seem to mirror her own real-life experience as a public figure. Tanner, on the other hand, plays the brooding Cameron with charm and subtlety, a stark contrast to Padgett’s flashy world. His portrayal of a character who rejects social norms and craves authenticity provides a grounding counterbalance to the more exaggerated aspects of the film. The chemistry between the leads is believable and endearing, though it lacks the depth that might be expected from more seasoned actors.
Direction by Mark Waters is competent, as he tries to update a classic while keeping it relevant for a new generation. The film leans heavily on its social media-driven plot, a reflection of today’s youth culture. Waters, known for his work on Mean Girls and Freaky Friday, brings a familiar teen comedy vibe, though He’s All That doesn’t reach the same level of wit or depth as those films. The movie is a visual treat for the social media era, with its bright, pop-inspired aesthetic and energetic pace. The editing is smooth, keeping the film brisk and engaging, but the story arc feels predictable from the get-go, especially for those familiar with its predecessor.
Cinematography by John R. Leonetti complements the film’s modern vibe. The scenes are filled with vibrant colors and sunny, glossy shots of LA, making the setting feel like a dream world tailored for Instagram stories. From beach parties to rooftop dances, the film captures the opulence and allure of a life lived online, which works well with the influencer-centric plot. However, the cinematography doesn’t particularly stand out beyond these surface-level visuals. The film is built to look good on screens, but there isn’t much in terms of innovation or memorable imagery.
The music plays an integral role in establishing the film’s youthful energy. With a soundtrack filled with upbeat pop tracks, it matches the mood of high school parties and TikTok challenges. Songs like Katy Perry’s Teenage Dream evoke nostalgia while still feeling fresh in this modern retelling. The score by Rolfe Kent is light and playful, serving as a backdrop to the film’s breezy tone. However, the music choices, while catchy, don’t necessarily add emotional weight to the pivotal moments in the film. They maintain the film’s surface-level appeal but miss the opportunity to create a more profound connection.
Costume design deserves mention, as the wardrobe choices reflect the stark contrast between Padgett’s fashion-forward, influencer persona and Cameron’s laid-back, low-maintenance style. Padgett’s outfits are always camera-ready, perfectly curated for social media, with bright colors, chic accessories, and a modern aesthetic. Cameron, in contrast, wears muted tones, vintage t-shirts, and a disheveled appearance, emphasizing his character’s indifference to the world of appearances. The costumes play a crucial role in highlighting the film’s themes of image and authenticity, making it clear when characters are being true to themselves versus when they are trying to fit a mold.
While the film’s strengths lie in its visuals and light-hearted entertainment, it struggles in terms of depth. The plot feels formulaic, and the emotional beats don’t land as impactfully as they could have. The themes of self-discovery, the importance of authenticity, and the dangers of social media image crafting are touched upon, but not fully explored. The transformation of Cameron from an outcast to a prom king feels too rushed, and Padgett’s own journey of realizing that image isn’t everything doesn’t have the weight it needs to make the film feel truly transformational. The supporting characters, like Padgett’s friends and Cameron’s sister, play stereotypical roles without much development, leaving them feeling more like plot devices than real people.
Overall, He’s All That offers a fun, breezy update to a beloved 90s rom-com, but it lacks the depth and originality to stand out in its own right. It succeeds as light entertainment, with charismatic leads and plenty of eye-catching moments tailored for today’s social media-savvy audience. However, it doesn’t bring anything new to the table in terms of storytelling or character development. Fans of the original might enjoy the nostalgic nods, and younger viewers will appreciate the TikTok-inspired vibe, but for those seeking a more heartfelt or substantial film, this one falls a bit short.
If you’re in the mood for a light, feel-good watch with a dash of teen romance and modern-day dilemmas, He’s All That might just do the trick. However, don’t go in expecting more than a fun, popcorn flick designed for quick enjoyment rather than lasting impact. It’s a movie built for the digital age—flashy, fun, but fleeting in its substance.
