Valley Girl Review: This Musical Remake Will Melt With You

Shakespeare’s “Romeo and Juliet” has long laid the groundwork for many cinematic love stories. In 1983, Martha Coolidge’s original Valley Girl was loosely based on this story of star-crossed lovers, with Deborah Foreman and Nicolas Cage (in one of his very first roles) as the titular Valley Girl, Julie, and the Hollywood punk she falls in love with, Randy. Now, Rachel Lee Goldenberg’s remake adds a musical flair to this ’80s-set love story, paying homage to the original while creating something exciting and new. Part coming-of-age love story and part rousing movie musical, Valley Girl is a delightfully cheesy remake set to some of the best tunes from the ’80s.

The story opens on a young woman (Camila Morrone) who finds herself heartbroken outside of a club following a breakup with her boyfriend. She winds up calling her mom, the older version of Julie (Alicia Silverstone), to come and pick her up. Once back home, she opens up that the break up occurred because of her decision to attend a study abroad program in Japan, which leads to a discussion about how relationships are meant to encourage growth rather than squelch it. This is when older Julie decides to share the story of her first love, Randy (Josh Whitehouse), and how it opened her eyes to the possibilities that lie beyond the comfortable confines of the San Fernando Valley.

From here, the film travels back in time to the early ’80s, with young Julie (Jessica Rothe) and her group of friends strolling through the mall and dancing to The Go-Go’s “We Got The Beat”. It’s an electric musical number that not only shows off the girls’ immensely talented voices but perfectly captures the bubblegummy atmosphere of The Valley and those that reside in it. On the other side of the hill, where those in The Valley are warned not to go, are the Hollywood punks and runaways. Singing Joan Jett’s “Bad Reputation”, the group is a rowdy one that’s having the time of their lives regardless of their situation. In each respective location, and throughout the course of the film, the songs chosen for the musical numbers are a perfect reflection of the scene and those involved. It’s clear the song choices were picked for very specific reasons, not just to serve as a Best Of The ’80s playlist, which is a testament to Goldenberg’s exacting direction.

However, Julie longs to see the world and explore outside of The Valley’s closed-off bubble. Her family and friends all have their future mapped out for them, but Julie dreams of New York and fashion school and independence, all things her friends find very strange (even going so far as to think she’s having a mental breakdown). They live by the adage they’ve been told all their lives that girls don’t expand their horizons, they just settle down and have some fun in the meantime (which is proclaimed through a lighthearted rendition of Cyndi Lauper’s classic “Girls Just Want To Have Fun”). As comfortable and fine as this pre-planned life sounds, Julie doesn’t want to fit that mold. It’s during this introspective time that she meets Randy – wild, unpredictable, punk-rock-loving Randy. He’s everything that she’s been told to avoid, and yet, everything she’s looking for all the same. The two are quick to fall in love with one another, but they face opposition from all sides over their newfound relationship. It’s a tale as old as time: can these two lovebirds truly defy the odds and end up together? Or will society’s pre-formed assumptions stand in their way?

The chemistry between Rothe and Whitehouse is infectious. Their connection is believable, especially during musical numbers. It’s an innocent, electrifying, beautiful, empowering, and thought-provoking first love that encourages growth in one another. The script, written by Amy Talkington, gives each character ample space to expand their creative spirits and challenge their preconceived ideals. Though occasionally a little too cheesy at first, the writing slowly finds its groove as it moves forward. It’s a story that relishes in both Julie’s coming-of-age journey and the first love that gave her the freedom to reach for something more in life.

The rest of the cast is exceptional as well. Not only are they musically talented, but each of their performances brings an abundance of personality to the table. The other Valley Girls, especially, each have very distinct and complex personalities. Chloe Bennet, in particular, is delightfully wicked as the snide mean girl of the bunch, with a killer voice to boot. The musical numbers add another layer to the performances as well, with some songs even switching up genres to fit the mold of a specific location, scene, or emotion playing out. These performances and music choices, coupled with vibrant coloring and well-shot cinematography from Adam Silver, help round out this remake as an easily rewatchable one.

The remake of Valley Girl ultimately stands on its own two legs as a movie musical with plenty of new aspects to offer present-day audiences. Both Rothe and Whitehouse are exceptional performers, and their chemistry will surely keep viewers invested from start to finish. Even the connection between older Julie and her daughter is sweet, offering up some great advice about love and independence along the way while telling young Julie’s story. Not to mention, the soundtrack contains several excellent song choices from the ’80s that viewers will definitely find themselves singing long after the credits have rolled.

Valley Girl is now available on digital and at select drive-ins. It’s 104 minutes long and rated PG-13 for teen partying, language, some suggestive material, and brief nudity.

About The Author

Hannah Hoolihan
(254 Articles Published)

Hannah Hoolihan is a film critic and news writer that’s been working with the Screen Rant team since March of 2019. Before joining this crew, she spent four years writing movie reviews and conducting interviews on her own website. She even became a Tomatometer-approved film critic on Rotten Tomatoes all on her own!

Alongside Screen Rant, more of her bylines can be found on IGN, Collider, Geek Bomb, and Leonard Maltin’s website. She’s also a member of Women in Film in Los Angeles and is extremely passionate about their cause.

When she’s not writing or watching Fleabag for the millionth time, she can be found exploring new restaurants in her area or at the dog park with her two adorable pups. You can keep up with her shenanigans on Instagram: @hannah_hoolihan.

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