Cady Heron is a hit with The Plastics, the A-list girl clique at her new school, until she makes the mistake of falling for Aaron Samuels, the ex-boyfriend of alpha Plastic Regina George.
Director:
Mark Waters
Stars:
Lindsay Lohan,
Jonathan Bennett,
Rachel McAdams
Elle Woods, a fashionable sorority queen is dumped by her boyfriend. She decides to follow him to law school, while she is there she figures out that there is more to her than just looks.
Director:
Robert Luketic
Stars:
Reese Witherspoon,
Luke Wilson,
Selma Blair
Benjamin Barry is an advertising executive and ladies' man who, to win a big campaign, bets that he can make a woman fall in love with him in 10 days. Andie Anderson covers the "How To" beat for "Composure" magazine and is assigned to write an article on "How to Lose a Guy in 10 days." They meet in a bar shortly after the bet is made.
Director:
Donald Petrie
Stars:
Kate Hudson,
Matthew McConaughey,
Adam Goldberg
When her brother decides to ditch for a couple weeks, Viola heads over to his elite boarding school, disguised as him, and proceeds to fall for one of his soccer teammates, and soon learns she's not the only one with romantic troubles.
After serving as a bridesmaid 27 times, a young woman wrestles with the idea of standing by her sister's side as her sibling marries the man she's secretly in love with.
Director:
Anne Fletcher
Stars:
Katherine Heigl,
James Marsden,
Malin Akerman
Good girl Sandy and greaser Danny fell in love over the summer. When they unexpectedly discover they're now in the same high school, will they be able to rekindle their romance?
Director:
Randal Kleiser
Stars:
John Travolta,
Olivia Newton-John,
Stockard Channing
Cher, a high school student in Beverly Hills, must survive the ups and downs of adolescent life. Her external demeanor at first seems superficial, but rather it hides her wit, charm, and intelligence which help her to deal with relationships, friends, family, school, and the all-important teenage social life.Written by
Michael Kaminsky <kaminsky@ucsee.eecs.berkeley.edu>
The funny little convertible car which Christian drives to Cher's house is a 1954 Nash Metropolitan. See more »
Goofs
When Travis puts the cardboard box full of donations for the disaster relief down, the jars in the box fall over. In the next shot they're stacked upright again. See more »
Quotes
Tai:
Cher, I don't want to do this anymore. And my buns: they don't feel nothin' like steel.
See more »
Crazy Credits
Other than the Paramount Pictures logo and the movie's title, there are no opening credits. See more »
"Let's set 'Emma' in a modern high school!" Does this sound the obvious kind of movie gimmick that everyone uses nowadays? Perhaps, but it's an inspired idea all the same. Jane Austen's characters, and her readers, and the society in which her novels are set, like Jane Austen herself, are HEAVILY conscious of class and social standing. No atmosphere quite so snobbish exists in the modern world. EXCEPT, that is, in the corridors and courtyards of the right kind of high school. And where else in the modern world would you find so many people who seem to spend all their time calling on one another?
I was reminded of how well Heckerling moulded "Emma" to fit a modern setting when I saw the idiotic 1998 version of "Great Expectations", adapted by someone who somehow failed to notice how important all the stuff about class and snobbishness was. It's clear that Heckerling understood her source. She isn't afraid to make changes - even radical changes, if the modern setting requires as much - and no character exists MERELY because they have an analogue in Austen's novel. (The most crucial thing is that the Emma-equivalent be sufficiently charming; and so she is.) The result is a film which is winning and satisfying, whether or not you know anything about the source material.
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"Let's set 'Emma' in a modern high school!" Does this sound the obvious kind of movie gimmick that everyone uses nowadays? Perhaps, but it's an inspired idea all the same. Jane Austen's characters, and her readers, and the society in which her novels are set, like Jane Austen herself, are HEAVILY conscious of class and social standing. No atmosphere quite so snobbish exists in the modern world. EXCEPT, that is, in the corridors and courtyards of the right kind of high school. And where else in the modern world would you find so many people who seem to spend all their time calling on one another?
I was reminded of how well Heckerling moulded "Emma" to fit a modern setting when I saw the idiotic 1998 version of "Great Expectations", adapted by someone who somehow failed to notice how important all the stuff about class and snobbishness was. It's clear that Heckerling understood her source. She isn't afraid to make changes - even radical changes, if the modern setting requires as much - and no character exists MERELY because they have an analogue in Austen's novel. (The most crucial thing is that the Emma-equivalent be sufficiently charming; and so she is.) The result is a film which is winning and satisfying, whether or not you know anything about the source material.