of Dax’s HD camera (plus a handful of lower-res smartphones), the film not only immerses us in the action but also encourages a lecherous “Girls Gone Wild” aesthetic, with the cameras never far when ladies are willing to be indiscreet. Here’s where “Project X” differs from “Risky Business,” “Can’t Hardly Wait” and the countless house-party movies that have come before: By capturing the bedlam from the p.o.v. The guys see this night as a “game changer,” a chance to boost their popularity at a school where hardly anyone pays them any mind, but mostly it’s a chance to get laid, and the film shares their almost single-minded focus on hooking up. Then the guests start to arrive, looking less like classmates from his North Pasadena high school than the wet-T-shirt-ready twentysomethings of their dreams.
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( Jonathan Daniel Brown, the runt of the bunch) decide to invite practically everyone they know and then some.Ī quarter past nine, it’s just the four of them, plus lifelong gal pal Kirby (Kirby Bliss Blanton), sitting around playing videogames in Thomas’ living room. It just so happens that Thomas’ parents (Peter Mackenzie and Caitlin Dulany) are celebrating their anniversary on the same night their son turns 17, barely thinking twice before leaving the house in his usually responsible hands.Īnd why should they worry? As Papa Kub puts it, “He’s a sweet kid, but he’s a loser.” Thomas isn’t popular enough to throw a huge party - which is precisely why he and misfit friends Costa (brash, charismatic newcomer Oliver Cooper), Dax (Dax Flame, barely seen) and J.B.
Thomas Kub ( Thomas Mann, the most experienced of the non-pro leads) is your average high-school senior in nearly all respects, except perhaps the size of his backyard, which is big enough to accommodate a dozen friends, a wayward Playboy model, a pool and roughly 1,500 complete strangers.
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Enlisting musicvideo director Nima Nourizadeh to spearhead the project, Phillips instinctively demonstrates how to position rowdy hyperbole for today’s auds, eschewing the traditional single-camera approach for a faux found-footage conceit that underscores the anything-can-happen sense of anarchy the story requires. From “Frat House” to “The Hangover,” everything in Phillips’ career has been leading to this.
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