"Five years after the cessation of That ‘70s Show, its cast is still making their careers chronicling the stupid things we do when we’re young. This year, that’s often taken the form of entering into ill-advised, pure-sex relationships with formerly platonic friends of the opposite gender. (I’m looking at you, No Strings Attached‘s Ashton Kutcher and Friends with Benefits’ Mila Kunis.) Leave it to Topher Grace, the one who always seemed like the deepest of the bunch, to make the movie where the main character laments the follies of his youth without getting to have any fun at all.
His 2011 movie, Take Me Home Tonight, also comes with a richer tradition of young-adult cinema behind it. The events of the film take place within one 24-hour period, putting it in the same vein as all-in-one-crazy-night movies such as American Graffiti, Dazed and Confused, and Superbad. Its ‘80s time period and focus on its characters’ feelings makes John Hughes an obvious touchstone. And focusing in particular on a protagonist who can’t figure out what to do with the rest of his life puts it right alongside The Graduate. It’s as if director Michael Dowse set out to remake Sixteen Candles starring Lloyd Dobler""Even though all of the pieces are there, Take Me Home Tonight remains as a good example of another film in the ‘80s-nostalgic, all-in-one-night, John Hughes-esque genre without ever becoming something greater. It’s happy to follow along in the footsteps of its inspirations without ever really transcending them. (Even the soundtrack choices, which kick off with “Video Killed the Radio Star,” are pretty typical.) The character of Matt’s best friend, Barry (Dan Fogler), for example, seems more obligatory than compelling. Recently fired, Barry is off in his own subplot where he tries coke for the first time and finds himself enduring a series of increasingly ridiculous sexual adventures. His exaggerated portion of the film, not as thoughtful as the rest, seems like a calculated grab for Harold and Kumar fans." Click through to read the rest of the review at PopMatters.