Originally released January 8, 2000:
The latest sacrifice to almighty gods that are the teenage market with wide pockets arrives and proves not only is the teen comedy dying, it is having its grave danced upon. And with eight inch heels worn by the fiend known as Down To You.
Want an old-fashioned love story? Boy gets girl, boy loses girl, boy tries to get girl again, and boy gets girl. Pretty old and pretty much nothing more to Down to You, minus the addition of two porn stars and a nymphomaniac. The story is the same well-beaten path where they keep the leads as far away from each other and just let ’em loose at the end. Everyone hugs and we can all go home. Geez, I’ve seen more substance in a bag of fat-free potato chips.
The movie is very uninteresting and rather pointless as it drones on. Freddie Prinze Jr. can smile all he wants to but I’ll still never believe he’s a down on his luck college coed. At least he’s out of high school in this one. Everything in this movie has a recycled feel to it, so much so that some environmentalist group should confiscate this entire movie. People, it’s that bad. Imagine every cliché, expanded character stereotype, redundant joke, and you still have no idea how bad this script is. What the writer/director believes is quirky and cute falls closer to annoying and irresponsible.
The rest of the actors are faceless unknowns that you might as well search for on the back of a milk carton. Julia Stiles and Freddie Prinze Jr. have zero chemistry between them and are either bickering or blushing in embarrassment. Doesn’t sound like a good relationship worth a dozen flashbacks to me. Stiles at least puts forth an effort but Prinze just runs through the motions of another teen flick for his resume and comes off as nothing more than a mannequin with a goofy grin.
I stand and make a plea; please for the love of God end this Hollywood fascination with high school romantic comedies. It might have been cute to start out with but this trend has run its course. The only way the madness of teen romantic comedies will end is if the teens themselves stop supporting them. Wise up America. Take action! If this comedy is supposed to be about the school of life I’d say it overslept its class.
Nate’s Grade: C-
WRITER REFLECTIONS 20 YEARS LATER
I’ve been wondering for years if maybe, just maybe, I was too hard on the forgettable rom-com, Down to You. Not that it was a great movie but maybe the 17-year-old version of myself at that time in my senior year of high school had an axe to grind against blandly popular art. I can recall vividly how incensed I felt as a teenager growing up in the 90s with the rise of pop music like Britney Spears and Hanson and boy bands, the idea that these fleeting confections were somehow squeezing out the spaces for the bands and artists that I felt were more deserving of attention, alternative rock bands that were formidable for me, like Smashing Pumpkins and Radiohead. I can feel that intensity in my derogatory use of the term “teenybopper” to describe art that was made for mass appeal. Now, decades hence, I look back at my younger self and wonder why I got so upset about people liking art that didn’t appeal to me and why I felt such a passionate intensity to take down the art I personally disliked. Who cares? You don’t like Taylor Swift’s music? Fine, but what does it matter if others happen to like it? I can appreciate the pop stylings of Ms. Spears and the boy bands of yore. I’ve learned through time not to take offense that people just have different tastes (unless people enjoy the Friedberg-Seltzer “comedies,” because that is all the judgement I need).
That’s why I was wondering whether Down to You was a victim of my teenage animus and might, upon retrospect, perhaps be a better movie than I gave it fair credit for back in 2000, the dawn of a new century. Dear reader, I am here to inform you that, having recently re-watched this Freddie Prince Jr.-Julia Stiles romance, that Down to You is even worse than my teenage-self had warned.
For starters, this movie rings astoundingly inauthentic with every moment. It was written and directed by Kris Isacsson (Husband for Hire) who was close to thirty years old when Down to You was released but it feels like a 50-year-old was trying to replicate the speaking patterns of hip young twenty-somethings and flailing badly. Every word of dialogue just has that unshakable feeling of being off, or bring cringe-worthy, or failing to articulate the rhythms of youth. It’s not even in the Kevin Williamson-Dawson’s Creek style of hyper-verbal, overly clever youth that never existed except in television writers’ rooms. It’s not even entertaining in-authenticity.
These college students sound interchangeable from their older parents; one pompous thespian friend (Zak Orth, channeling Orson Welles) feels completely transported from another movie. He has a test where he challenges Al to drink out of two cups, one representing true love and the other representing illusion. I did not understand the point of this game. I assume it was like Three Card Monty and he had to pick the right one after watching it be shuffled, but that’s just proving Al can follow a cup. This moment is played like some grave insight and it makes no sense. Even more than that, the behavior of the “kids being kids” can be downright cringe-inducing. Imogen will turn on music and walk around lip synching to the adoration of any crowd, but it just feels so awkward to watch, and it happens multiple times. Rosario Dawson (Men in Black II) is a one-note “hippie” friend who makes lame drug jokes. Selma Blair (Hellboy) is an active porn star and an active student at the school but is just a vampy attempt to tempt our male lead. He even keeps naughty pictures of Blair under his bed even after he’s dating Imogen. There’s also Ashton Kutcher (The Butterfly Effect) as an obtuse artist. Every character feels phony and bereft of charm and wit.
Romantic comedies live and die on two things: 1) your level of amusement in the characters, and 2) the chemistry of the lead characters. Down to You regrettably whiffs on both accounts. These are very boring characters and even by the end of the movie we know very little about them. Al says he wants to be a chef but we never see him do any cooking on his own, which seems like quite an oversight for a budding relationship. She’s an aspiring artist and we at least see her paint and describe why she likes art. Isacsson employs a Woody Allen-esque device where both participants break the fourth wall from the future to talk about their relationship ups and downs. You would think this framing device would allow for better insights and you’d be wrong. At one point, Imogen leaves for France for three or more months for an internship. You would think this would provide a difficult period for boyfriend and girlfriend to adjust and maintain intimacy, perhaps throwing some question over whether they’re fully invested. One minute later, she’s back and this entire excursion has meant nothing to their relationship. Why even include it?
Their coupledom feels as inorganic as everything else, and this is magnified by the powerful lack of chemistry between Prinze Jr. (She’s All That) and Stiles (The Bourne Identity). You don’t feel any urge compelling Al and Imogen to get together because they seem like chummy friends at best. When they have sex for the first time, three months into their collegiate relationship, the camera slowly lingers over their faces and uncomfortably frames their dispassionate and awkward kissing far too long. I defy anyone to watch that scene and argue that these two people have a spark of chemistry. I even hate their names. “Imogen” feels like it’s trying too hard and “Al” not hard enough. With the poor character writing, bad plotting and development, and no palpable chemistry, it makes Down to You feel like a painfully confounding experience lacking romance and comedy.
I was amazed at Isacsson’s sense of scene building and how wrong many of the endings come across. A scene, when well written, should serve as its own mini-movie with a beginning, middle, and end, and hopefully some conflict to explore. In a comedy, the conclusions of scenes would end on an upturn or a downturn but it’s also a good idea for there to be a discernible punchline the previous moment was leading up to. There’s one scene where Al’s roommate (Shawn Hatosy), a peculiar presence throughout that never knows what to do in any given moment, is drunk at a party and talking to an inflatable gorilla wearing a brassier. Al grabs the gorilla away and his inebriated roommate whimpers. That’s it. The generally off nature to all the writing is compounded in the comedy writing, which is compounded in its lazy or non-existent punchlines.
The worst example is when Al literally drinks a bottle of Imogen’s shampoo in a misguided suicide attempt. This is the thing I’ll always remember this absurd movie for. Al has his stomach pumped and undergoes a psychological review in the hospital, where he argues he was testing himself to see if he “needed the shampoo” and turns out he still did. This reckless act of self-destruction should provide more insights and changes to our male lead and those around him; he did, after all, attempt to end his life over being distraught from an ex-girlfriend. Al shrugs and it’s forgotten. What was the purpose of doing something this weird and harmful if it wasn’t going to matter in the bigger picture? Don’t transform a suicide attempt into a quirky anecdote for a non-dark comedy. This is what Down to You feels like as a whole, a series of contrived anecdotes crashing against one another.
There is one lone saving grace for this entire enterprise and that’s Henry Winkler (so brilliant on HBO’s Barry) as Al’s father, a famous TV chef who has an exciting idea for a reality TV show. He’s modeling it after Cops, that stalwart of 90s television, but it would be called Chefs. It would feature a traveling truck of chefs that would come to a stranger’s home, prepare a delicious meal, and teach the family how to do it themselves. Not only does that sound like a great idea for a TV show in 2000, I’m positive some show has run with this concept and had great success since. I would have rather watched the movie from Winkler’s point of view trying to get this show on the air and dealing with a son who drinks shampoo as a cry for help.
Looking back on my original review in 2000, I was wincing at how many joke-slams I was attempting at the film’s expense. Look, Down to You is still a bad movie but I didn’t need to add lines like, “I’ve seen more substance in a bag of fat-free potato chips,” and, “if this comedy is about the school of life I’d say it overslept its class.” This was still less than a year into my pursuit of critically reviewing movies, so I think I was forcing ready-made blurb-tendencies. My critical charges were on par but failed to go into more detail and seemed too general, which is why I wondered if my charges were colored by my teenage biases at the time. Given the time and distance, Down to You feels even more phony and confusing to watch as an adult. I was muttering to myself and my girlfriend while re-watching it and trying to understand the distaff storytelling choices. It’s flabbergasting and dated and even worse than I remembered. Down to You might be the nadir of the teen comedy movement from the early 2000s. I will never have to see this again. So, future me reading these words, heed this warning – stay away. Stay far away.
Re-Review Grade: D