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The Deb (M) – 121 minutes

  • Writer: Alex First
    Alex First
  • 11 hours ago
  • 3 min read

What a mess – a script that lurches one way, then the other, around and around, that simply ends up feeling tortuous.

 

It is also oh so obvious. It feels forced – all the way.

 

Sure, I can find praise for the choreographed dance numbers and the musicality, although I could also argue that the musical component was unnecessary.

The story concerns narcissistic, self-confident, high school student, Maeve Barker (Charlotte MacInnes), a self-declared bolshy feminist.

 

She is also school captain and Ms popularity, who has a strong Tik Tok following.

 

The principal at the private school she attends is her mother, Tish (Susan Prior), who is big on her students acting and dressing appropriately.

 

That includes doing up their top buttons.

 

In response, Maeve takes matters too far when she rips open her shirt and exposes her boobs to the whole school.

 

As a result, Tish suspends and, later, expels her.

 

Maeve isn’t fussed, saying she will simply go and stay at the beach house with her dad (her mother and father are separated), who we never meet.

But mum is having none of it. Instead, she ships off Maeve to stay with her brother, hardworking, widowed farmer Rick Simpkins (Shane Jacobson), in the country.

 

He is also Mayor of the fictitious town of Dunburn, that has been badly drought affected for the past three years.

 

Six hours away by road (eight by bus, which is how Maeve is dispatched), the “trip” also sees Maeve reunited with her cousin (Rick’s daughter), Taylah (Natalie Abbott).

 

The pair hasn’t seen each other for a long time. 

Maeve can’t quite believe the hick town she has walked into and is very soon pleading with her mother to allow her to come home.

 

But mum won’t play ball and the story settles into the fact that Taylah dreams of attending the debutant ball in town in six weeks, however can’t find a partner.

 

Taylah is a big girl and picked on and ostracised as a result.

We are introduced to the trio of in-girls, led by Annabelle (Stevie Jean), who lead that charge.

 

The chief antagonist’s mum is hairdresser and beautician Janette (Rebel Wilson).

 

Dressing the girls for their big night is spinster Shell (Tara Morice), who has her eyes firmly on Rick Simpkins and has had for some time. 

Talking of sparks, one also ignites between the town’s respectful hottie, Dusty (Costa D’Angelo) and the manipulative Maeve.

 

The latter is set to learn a valuable lesson or three, before we inevitably get the happily ever after ending.

 

No real spoiler there, because that is obvious from the get go.

 

Imbued with sweary, larrikin, Aussie humour that is hardly subtle, I found much of The Deb simply cringeworthy. 

It plays to lowest common denominator material, which, unfortunately, has been all too common with Australian movies over the distance.

 

I am afraid that Rebel Wilson’s directorial debut isn’t auspicious.

 

The two-hour one-minute predicable screenplay by Hannah Reily, with additional writing by Wilson, desperately needed to be reined in.

 

For quite some time the music in the musical disappeared altogether, although, as I mentioned near the outset, I have no idea why it needed to be a musical at all.

 

Displaying a big personality, Charlotte MacInnes tries her best to rescue a lost cause. 

I also have time for Natalie Abbott’s efforts as the shunned dreamer.


Shane Jacobson long ago turned “good natured” into an art form and does so again here.

 

Rebel Wilson attempts to be droll as Janette, who likes to insert herself in the conversation, but I can’t say I warmed to her portrayal.


I have a softer spot for Scarlett Crabtree, who plays Janette’s cheeky younger daughter Kid Koala, and with whom Wilson shares some nice moments. 

I would describe Tara Maurice’s portrayal of Shell as try hard, but no cigar.

 

While there is some nice cinematography by Ross Emery in play, starting with the opening shots of Sydney, overall, I found The Deb an unfunny blancmange.

 

The fact that I was the only one in the cinema at an evening screening of the movie soon after it opened spoke volumes.

 

Rated MA, it scores a 3 out of 10.

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