Name: He's All That
Genre: Comedy, Romance
Released: 2021-08-27T00:00:00+00:00
Cast: Addison Rae, Tanner Buchanan, Madison Pettis, Rachael Leigh Cook, Matthew Lillard

The opening shot of He’s All That lingers on Addison Rae’s perfectly curated Instagram feed—a grid of glossy selfies, sponsored posts, and carefully crafted personas. It’s a bold choice, one that immediately telegraphs the film’s central tension: authenticity versus performance in an era where social media dictates worth. Directed by Mark Waters, this gender-swapped remake of She’s All That (1999) aims to update the high school makeover trope for the TikTok generation. Unfortunately, it stumbles under the weight of its own product placement and uneven performances, never fully escaping the shadow of its predecessor.

The premise is familiar: Padgett Sawyer (Rae), a popular influencer, bets she can transform Cameron Kweller (Tanner Buchanan), an unpopular photographer, into prom king as revenge on her cheating ex-boyfriend. What could have been a clever commentary on modern vanity and digital personas devolves into a series of awkward set pieces and forced social media references. The film’s attempts to feel relevant—like Padgett’s elaborate ruse to hide her modest living conditions from followers—are undermined by the sheer volume of product placement, which makes the movie feel more like an extended commercial than a coherent narrative.

Waters, known for his work on Mean Girls and Freaky, struggles to find a consistent tone. The film oscillates between sincere teen romance and satirical social commentary, never fully committing to either. This tonal whiplash is most evident in the film’s romantic beats, which feel forced rather than earned. Rae’s performance as Padgett is wooden, relying heavily on her influencer persona rather than any depth of character. She delivers lines with the same rehearsed enthusiasm she might use for a TikTok video, making it difficult to invest in her emotional journey.

Buchanan fares slightly better as Cameron, though his performance is hampered by the script’s uneven handling of his character. The film attempts to humanize him through tragic backstory—his mother died in a plane crash, and his father lives abroad—but these revelations feel tacked on rather than organically woven into the narrative. A standout moment occurs when Cameron stands up to Padgett’s ex-boyfriend Jordan (Peyton Meyer) at Quinn’s party, briefly capturing the film’s potential to blend humor and heart. However, this scene is an exception rather than the rule.

Madison Pettis and Peyton Meyer provide some levity as supporting characters, but even their performances can’t salvage the film’s weak script. Rachael Leigh Cook and Matthew Lillard, reprising roles from the original She’s All That albeit in different capacities, bring a touch of nostalgia to the proceedings, but they’re not enough to elevate the material.

The soundtrack, featuring 16 songs tied to specific scenes, attempts to inject energy into the proceedings, but it often feels disconnected from the action. The music underscores rather than enhances the emotional beats, making key moments feel hollow instead of resonant. Even the film’s attempt at a twist—revealing Alden (Madison Pettis) as the true villain—lacks impact due to the character’s underdeveloped arc.

Where He’s All That could have excelled is in its exploration of themes relevant to today’s youth: the pressure to curate a perfect online persona, the blurred lines between public and private life, and the search for authenticity in an age of filters and facades. These ideas are touched upon but never fully explored, leaving the film feeling shallow despite its ambitious premise.

Comparisons to She’s All That are inevitable, and He’s All That falls short in nearly every department. The original film, while flawed, had a certain charm and chemistry between Freddie Prinze Jr. and Rachael Leigh Cook that made it endure. In contrast, He’s All That feels like a soulless rehash, more concerned with contemporary references than genuine storytelling.

That’s not to say the film is without redeeming qualities. Its occasional wit—particularly in scenes where Padgett’s influencer world collides with Cameron’s outsider perspective—offers glimpses of what could have been. A scene where Padgett tries to convince Cameron to give her horse riding lessons, for instance, has a playful dynamic that feels fresh and engaging. However, these moments are too few and far between.

Ultimately, He’s All That is a missed opportunity. Its gender-swapped premise and social media themes could have made for a fresh take on the classic teen comedy, but the film’s reliance on product placement, weak performances, and uninspired direction hold it back.