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The Films of Amy Heckerling

Fast Times at Ridgemont High

Johnny Dangerously

European Vacation

Look Who's Talking

Look Who's Talking Too

Clueless (September 3/05)

Though Clueless hasn't aged all that well - something that's primarily due to Amy Heckerling's dated directorial choices - the film remains fairly entertaining and engaging throughout, thanks to several exceedingly charismatic performances and a sporadically clever screenplay (penned by Heckerling). Alicia Silverstone stars as Cher, a vapid, spoiled teenager who spends her days shopping and scheming. Her trouble free lifestyle is interrupted by the arrival of her smart and sarcastic cousin, Josh (Paul Rudd), though it's not long before the two find themselves becoming friendly with one another. Clueless boasts an impressive roster of performers - the supporting cast includes Brittany Murphy, Jeremy Sisto, and Breckin Meyer - and the light and breezy tone keeps things interesting for a while. But the film inexplicably adopts a melodramatic tone in the third act, thoroughly undermining everything that's come prior. And although the movie isn't quite the classic it's been made out to be, it's a mindlessly diverting way to kill 97 minutes.

out of

Loser

I Could Never Be Your Woman (March 5/08)

I Could Never Be Your Woman casts Michelle Pfeiffer as Rosie, a writer/producer on a disposable teen drama who finds herself falling for the series' latest hire (Paul Rudd's Adam). Despite the rather severe difference in their respective ages - she's 40 and he's 29 - the two embark on a relationship that's fraught with precisely the sort of complications that one might've expected. That writer/director Amy Heckerling reportedly used experiences from her own life as fodder for the film's storyline is nothing short of astonishing, as I Could Never Be Your Woman has been infused with a distinctly over-the-top sensibility that effectively drains the proceedings of anything even resembling authenticity. The most obvious victim of this is Rudd, who finds himself trapped within the confines of an absurdly (and unreasonably) broad character - to such an extent that it becomes increasingly difficult to believe that Rosie would actually fall for this ill-mannered douchebag. The inclusion of several undeniably strange elements - ie Rosie's inept yet oddly manipulative secretary - only exacerbates the film's various problems, and it's ultimately not difficult to envision most of these characters (as well as the almost uniformly contrived situations) placed comfortably within the context of a garden-variety sitcom.

out of

Vamps

© David Nusair