Cruel Intentions walked so Do Revenge could.. uh, walk a little faster.
Editor's Note: The Following Contains Spoilers for Do Revenge The release of Do Revenge over the weekend pays homage to veteran teen revenge movies like Cruel Intentions, Mean Girls, and Jawbreaker but has it earned its place among them as a classic? The Netflix original centers around two iconic protagonists, Drea (Camila Mendes) and Eleanor (Maya Hawke), as they execute delicious retribution Strangers On a Train-style. However, like any good drama, not everything is as it seems, and both leads are thrown some shocking curveballs, leaving viewers struggling to keep up with who they’re supposed to root for. Typical hallmarks of the genre include a killer soundtrack, an enviable wardrobe, and a villain infuriating enough to make the audience pray for their downfall. All are usually accompanied by a voice-over from whoever the viewer is meant to connect with most. Do Revenge manages to deliver all these quintessential tropes, along with unhinged mayhem in the form of espionage, a literal hit-and-run, and the drugging of an entire senior class with hallucinogens. Ultimately though, the film feels more like an echo of its predecessors and fails to properly ground itself, making it difficult for the audience to get too invested.
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Jawbreaker had the “Flawless Four,” Mean Girls had “The Plastics,” and Do Revenge’s iteration is “Rosehill’s Royal Court.” No matter the film, one thing remains the same, an elusive “it-crowd” reigns supreme. True to form, Do Revenge uses the trope of the “new kid” tour to introduce the school’s dynamics to the audience, specifically focusing on “the cream of the incredibly entitled crop” after they have excommunicated Drea from their ranks. As Gabi (Talia Ryder) gives Eleanor a tour of Rosehill, viewers are transported back to 2004 when Janice Ian (Lizzy Caplan) gives Cady Heron (Lindsay Lohan) an almost identical schooling. It’s not long after these tours that the “problematic but fun” tradition of a teen movie makeover takes place. Eleanor is given a makeover mirroring the likes of Fern’s (Judy Greer) transition to Vylette. Such makeovers usually inspire someone to utter the classic line “I made you and I can break you just as easily” somewhere down the track. Blessed with a budget most would drool over, Eleanore emerges with a new sense of style sure to get her an invitation into the most exclusive social circle in the school. Of course, it’s not long before she loses sight of her true self along the way as those social politics can be seductive. The film executes the makeover trope whilst also revealing that it’s self-aware of the concept’s shortcomings as an attempt to convey some level of progress.
The soundtrack is important. A single song choice can make or break a scene. A winning example of excellent taste is the sound of The Verve’s "Bittersweet Symphony" following Annette (Reese Witherspoon) as she drives away in Sebastian’s 1956 Jaguar, fresh off a personal victory at the end of Cruel Intentions. Bing Crosby’s gentle crooning is the perfect backdrop to Courtney’s (Rose McGowan) slow-motion exit from her prom as an angry senior class pelts her with corsages in Jawbreaker. Do Revenge’s soundtrack is an ode to teenage angst with a mixture of old classics and new artists woven together. Much like Cruel Intentions, the film closes out with Drea and Eleanore riding off in their own convertible to the tune of Meredith Brooks’ "Bitch," but overall, the film lacks a signature song that will lift a scene enough to keep it in the viewers' mind long after they finish the film.
The villain in Do Revenge is a little harder to pin down as Drea and Eleanor both pick up the mantle at one point. However, the true evil in this film is Drea’s ex, Max (Austin Abrams), the epitome of male privilege. His entitlement makes him ready to strike out at any woman that deviates from the role he shoves them into. His unfounded resentment towards Drea for not being more appreciative of him causes him to manipulate her into making a sex tape before leaking it to the entire school. But is he worthy of the same villain status as Regina George (Rachel McAdams), Courtney Shayne, and Kathryn Merteuil (Sarah Michelle Gellar)? Make no mistake, Max sucks. He deserves every single piece of karma that makes its way back to him. But the best type of villain is the one you love to hate. Even as you eagerly await their overthrow, you can at least respect the game. Max simply lacks this icon status. He comes off as more a caricature of every obnoxious, fake-woke, douche you’ve ever met. The audience doesn’t enjoy his deviant nature, they just want rid of him.
The creme de la creme of teen revenge movies, the reason we all watch them, is, of course, the all-important “gotcha” moment. These are the scenes that live on forever in pop culture infamy and are ultimately the decider on whether the movie has succeeded in winning over its audience. Witnessing karma befall the story's villain brings unadulterated satisfaction to the viewer as justice is finally served. Like Courtney winning prom queen in Jawbreaker before the recording of her murderous confession plays over the speaker. Or Kathryn’s despondent eulogy that is interrupted by the dissemination of journal entries detailing her every sinister act. Do Revenge’s final act has all the elements of a great dismantling. "Praise You" by Fatboy Slim plays as Max descends the stairs of the most infamous party of the year, looking like a low-budget Harry Styles - not sure if that wasn’t intentional - to a tape of him admitting his true nature. The dramatics of the moment is played up by his angry hysterics as his devoted supporters turn on him. Peak theatricality is achieved as he collapses to his knees outside the party as those he has mistreated artfully surround him. As “gotcha” moments go, it’s an entertaining one, if not a little predictable.
One way Do Revenge outdoes itself is with its shocking and monumental twist. Hawke embraces full “Glennergy,' showing the audience just how unhinged a teenage girl can become when pushed hard enough. She invites the audience to sympathize with her, and lures them in with beach walks, bashful smiles, and grilled cheeses, only to turn on a dime and prove she’s had the upper hand the entire time. The revelation Drea was the actual one to ruin Eleanore back when she was “Nosy Nora,” is the film’s winning attribute. It’s a delightful surprise not often found in other films like it. However, for all its attributes, the film suffers certain drawbacks that keep it from becoming the teen classic of the decade. Primarily, because of the twist, there is no lead character to sympathize with or at least get a more sensible perspective from. One of the best features of over-the-top antics in film is to see them in contrast to normal behavior, highlighting the absolute absurdity of whatever is taking place. Without the perspective of someone like Annette Hargrove or Cady Heron, Do Revenge struggles to have any character ground its audience. But loaded with subtle references, stellar acting, and ridiculous escapades, the film is a celebration of the teen high school genre to be sure.
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