Posted by: Peter Hall
It is no secret that I’ve been tracking ALL THE BOYS LOVE MANDY LANE for years now. Literally years. On multiple occasions I’ve lambasted Senator International for withholding the film from the US (it has not only played internationally, but is available elsewhere at retail before ever seeing a single non-festival screen here) after raves at Toronto back in ’06. To their credit they did snap the picture up after a now defunct Dimension Films dropped it (Fuck the Weinsteins). However, once again I am resigned to trawling the dark corners of the now permaconnected globe in search of booty. Sweet, supple teenage slasher revivalist booty.
If the rather self explanatory title does not suffice, Jonathan Levine’s feature debut is about a high school gal named Mandy Lane, played by Amber Heard, who all the boys want a virginal crack at. After much poking and prodding (and an opening party scene of exquisite spine wobbling), Mandy heads out to a rich kid’s arid flatland ranch for the kind of weekend only rich high schoolers have. Booze, sex and death! Someone at the ranch begins to hedge their hymen breaking bets by offing the competition one by one.
I’ll admit, by the time the credits rolled and Forman’s script had tipped its last hand, my smitten status with MANDY LANE had wavered. BUT, and this is a crucial, all-caps BUT, it has since grown on me. Jonathan Levine, more recognizable for buzzed sophomore film THE WACKNESS, has crafted what I am comfortable calling the most successful slasher of the millennium. High praise, I know, but remember it is in an arena whose competition I feel has been anorexic at best.