EASY A

With Emma Stone in the lead role and a smart script that simultaneously doesn’t take itself too seriously, this teen comedy is wonderfully irreverent and thoroughly entertaining.

Directed by Will Gluck (Fired Up!), the film centers on wallflower Olive Penderghast (Stone), who agrees to pretend to have sex with a gay classmate (Dan Byrd) so the other kids in school will think him straight and stop giving him a hard time. But that favor quickly leads to wildfire-like rumors spreading through every clique on campus and, before she can douse their flames, Olive lands smack dab in the glaring center of the social spotlight.

Her new reputation? As the “easy” girl who’ll help guys lose their virginity.

Rather than freak out or correct the collective misconceptions of the entire student body, Olive decides to embrace her new (if false) persona. With a nod to The Scarlet Letter and its “A” for adultress, Olive not only lets the rumors persist but actually fuels them as they continue to get bigger and bolder. And reactions from her peers vary: her best friend (Aly Michalka, Hellcats) goes from enthusiastic to resentful; the school’s resident Christian fundie (Amanda Bynes) condemns her to eternal damnation; and the cool boy for whom Olive carries a torch (Penn Badgley) refuses to believe the whispers are true. But how long can she keep up the ruse, and what will the ill-gotten gains of her dubious popularity do to her heart and soul in the process?

Proudly citing John Hughes and his films right in its own script and paying homage throughout, Easy A borrows from the successful teen comedies of the 1980s to deftly balance humor and pathos in a similar way. Characters are drawn with broad strokes but are not without flaws, souls and finely threaded tethers to reality. They’re silly and funny, but never veer into the territory of caricature or farce. Best of all, in my opinion, the adult characters are as well – and, in some cases, even better – developed as the kids. Stanley Tucci and Patricia Clarkson turn in fabulous, scene-stealing performances as Olive’s über-cool, hyper-understanding and wildly supportive parents; Thomas Haden Church’s down-with-his-students English teacher is as savvy as he is sensible; and Lisa Kudrow’s woman-on-the-verge-of-a-nervous-breakdown guidance counselor provides a nicely manic contrast to the comparatively sane presence of the other grown-ups.

The film clips along at a nice pace, and Stone’s winning personality shines through in every scene. Olive is bright and self-deprecating and bumbling and lovable, and her journey to fit in is as hilarious as it is heartwarming. Both the actress and the character are relatable, and that makes watching the story an engaging experience – you’re just as likely to cringe at Olive’s behavior as you are to cheer for it, depending on the moment.

Anyone who loved movies like The Breakfast Club or Sixteen Candles (which not only gets a few shout-outs, but a clever musical tip-of-the-hat when a familiar Thompson Twins’ song plays on a car radio) will no doubt get a kick out of this one, as well. And anyone who hasn’t yet embraced the John Hughes oeuvre will probably want to explore it after this unexpected gem rolls its closing credits.