Critic Reviews



Based on 32 critic reviews provided by
Los Angeles Times
A teen comedy that actually puts a priority on intelligence and values and spans generations in its appeal, emerging as a special delight for anyone for whom high school was something less than nirvana. [29 Jan 1999, p.6]
Boston Globe
In short, the film isn't afraid to wear its heart on its sleeve and bring conviction to its focus on feelings. It's written with enough dexterity and wit to make you buy into it. [29 Jan 1999, p.C4]
Chicago Tribune
Rachael Leigh Cook, as Laney, the plain Jane object of the makeover, is forced to demonstrate the biggest emotional range as a character, and she is equal to the assignment. I look forward to seeing her in her next picture. [29 Jan 1999, p.A]
Baltimore Sun
Aside from Lillard, the stand-out here is Cook, who plays a new breed of post-feminist Cinderella with a convincing mix of seriousness and vulnerability (although just once, it would be nice if Cinderella could keep her glasses on and still be beautiful). With her doe eyes and peaches-and-organic-yogurt complexion, Cook resembles a young Winona Ryder (if that's possible), right down to the appealing blend of sweetness and self-assurance. [29 Jan 1999: 1E]
The two stars are like cool kids pretending to be tortured poets pretending to be cool. Neither can match the screen presence - the shameless self-infatuated ebullience - of Matthew Lillard, who does a wickedly grotesque turn as Brock Hudson, a kind of goggle-eyed Puck manqué in the film's dead-on send-up of "The Real World."
To give the movie credit, it's as bored with the underlying plot as we are. Even the prom queen election is only a backdrop for more interesting material, as She's All That explores differences in class and style, and peppers its screenplay with very funny little moments.
About one idea short of being an excellent teenage romance. As it stands it's a pleasing but routine effort.
USA Today
What starts as a bright and bouncy time-waster that at least borrows from the best of its genre-defining ilk -- "Fast Times at Ridgemont High", "Clueless", "Carrie", "The Breakfast Club" -- eventually stumbles into sappy message-movie territory. [29 Jan 1999, p. 09E]
The script, which needs not just doctoring and could benefit from a spell in the critical-care ward, is full of dress-up and put-downs, and comes alive only when Prinze or Cook are on-screen. In short, She's All That aspires to be Clueless. It succeeds in being clueless.
New York Daily News
Well, it's not that hard to predict how this comedy with a little emotional depth will end. And that's not such a terrible thing, because She's All That delivers a lot of charm and quite a few nice comic touches. [29 Jan 1999, p.68]
The Hollywood Reporter
Visually, the film is skin and bones. Iscove and cinematographer Francis Kenny ("A Night at the Roxbury") have the most fun with "Grease"-like dance numbers in the finale. [27 January 1999]
Wall Street Journal
She's All That isn't mindless, just techniqueless...What's on the screen says they aren't yet up to speed on making feature films. Most of the actors mumble while the script lurches from one sketchy notion to the next. All the same, She's All That offers insights into life as it is lived, or at least filmed, in Southern California. [29 Jan 1999, p. W1]

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