As seniors in high school, Troy and Gabriella struggle with the idea of being separated from one another as college approaches. Along with the rest of the Wildcats, they stage a spring musical to address their experiences, hopes and fears about their future.
At a music camp for gifted teens, a popular teen idol overhears a girl singing and sets out to find who the talented voice belongs to. What he doesn't know is that the girl is actually a camp kitchen worker with a fear of being heard.
Identical twins Annie and Hallie, separated at birth and each raised by one of their biological parents, later discover each other for the first time at summer camp and make a plan to bring their wayward parents back together.
At 17 Mike O'Donnell is on top of the world: he's the star of his high school basketball team, is a shoo-in for a college scholarship, and is dating his soul-mate, Scarlet. But at what's supposed to be his big game where a college scout is checking him out, Scarlet reveals that she's pregnant. Mike decides to leave the game and asks Scarlet to marry him, which she does. During their marriage, Mike can only whine about the life he lost because he married her, so she throws him out. When he also loses his job, he returns to the only place he's happy at, his old high school. While looking at his high school photo, a janitor asks him if he wishes he could be 17 again and he says yes. One night while driving he sees the janitor on a bridge ready to jump, and goes after him. When he returns to his friend Ned's house, where he has been staying, he sees that he is 17 again. He decides to take this opportunity to get the life he lost. Written by
In one scene, Mike wakes up and begins describing his "dream" of being in high school again only to find his daughter, Maggie, caring for him. This is an homage to the counterpart scene in Back to the Future (1985), in which Marty McFly wakes up and finds his teen-aged mother caring for him. See more »
When Mike/Mark is shooting free-throws before the second big game there are seven balls on the rack including one on the top tier, after he talks to the coach there are only five with none on the rack and there hasn't been time or the sound of another shot. See more »
[finds out that Scarlett is re-doing their yard]
The divorce isn't final for another two weeks, so you have no right.
Really? I spent the last 18 years of my life listening to you whine about what you could have done without me and I have no right?
It's just that I put a lot of work in this yard.
Did you? Really? Like the barbecue pit? Yeah, the way I remember that is that you spent about an hour working on it and then you spent the next two days complaining about how if you had gone to college ...
[...] See more »
The closing credits include photos of most of the main cast and crew when they were actually 17-years-old. See more »
I'm starting to suspect that Hollywood no longer uses actual, human screenwriters to create their movies. After watching years of the same, recycled trash, I'm starting to think that they now use a screenplay-writing machine to do it.
This machine works very simply. A producer will enter the main character's name, one problem they are facing, and one 'gimmick' (an unusual plot twist often used as a selling point for the film), and hey presto! - out pops a completed, and entirely unoriginal screenplay. Such is the case for 17 Again.
Mike O'Donnell is a depressed suburban father (sounds familiar already, doesn't it?) whose wife is divorcing him, kids can't stand him, and who just got passed over for a promotion. As the movie progressed, it started to seem very, very familiar - a crippling combination of unoriginal jokes, stereotypical characters and recycled plot devices. My friends and I started to grin and sneeringly guess what was going to happen later in the film, and guess what: most of the time, we were right.
We've all seen this movie before - it's been pieced together from the discarded carcasses of films past, by a flock of vultures seemingly so unaccustomed to originality in film-making that they have been rendered unable to create any plot twist even slightly unexpected or interesting. And don't even get me started on Zac Efron's acting (or lack of such).
Two small good things. Out of the dozens of jokes thrown at us, a select few - maybe five - were genuinely hilarious. Other than that, though, the humor relied on the the faux-improvised, overly-awkward style of comedy popularized by Seth Rogen and co. It doesn't work here. The other highlight, of course, was Matthew Perry. He's the man, and an excellent comic actor, but his short on-screen time was not enough to salvage this unoriginal, unfunny, and worst of all boring attempt at light entertainment. Perhaps if the film had eliminated the dramatic aspects and stuck to being a comedy, it could have succeeded, but this is one movie I certainly would not want to see again.
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