Kirsten Dunst and the Shift in Teen Movies

Kirsten Dunst wasn’t exactly in the right place for typical teen films, at least not the way studios were churning them out around the early 2000s. She was perfectly positioned to thrive in the post-Scream wave that gave us movies like I Can’t Wait and 10 Things I Hate About You. During this era, while her peers were dancing away to Usher, Dunst was involved in a box office flop called Dick, a quirky teen comedy featuring her and Michelle Williams, alongside a rather unexpected portrayal of Richard Nixon. But, despite being part of the later-loved Drop Dead Gorgeous and Sofia Coppola’s The Virgin Suicides, her path diverged from the more traditional teen fare. The only notable hit in that genre was Bring It On, which leaned into its own weirdness, but she didn’t seem to seize her moment to capitalize on the fame it brought.

Miramax tried to make the most of her presence with Get Over It, a teen comedy released 25 years ago this month. This flick came just before the release of Bring It On—the film had a catchy tune six months later, but it’s somewhat fitting that Dunst, often portraying a character wrapped in melancholy, would feature in a genre that was nearing its decline.

Now, it’s important to mention that there were still teen comedies popping up after the spring of 2001. For example, American Pie 2 became a huge success shortly thereafter. However, the genre was on the outs, especially with the boy band craze quickly fading. Get Over It didn’t exactly blaze a trail. It actually attempted to adapt Shakespeare’s A Midsummer Night’s Dream. Martin Short, as a memorable drama teacher, cheekily describes the premise as “classic Shakespeare with a modern twist.” The story follows the awkward Burke Landers, played by Ben Foster, who tries to win back his ex-girlfriend, enlisting Dunst’s character, Kelly, along the way. It’s interesting to note that the film features youthful performances from now big names like Mila Kunis and Zoe Saldaña.

While the cast might be physically appealing, it’s Short who really steals the spotlight, portraying a younger, more sardonic version of his stage persona. Ben Foster, on the other hand, delivers an odd performance as a lovelorn character whose underlying angst feels a bit intense for a lighthearted teen movie. Instead of coming off as a carefree youth stepping into musical theater, he seems more like a conflicted individual taking a brief reprieve from his worries.

Dunst fits in quite well, however, as her character aspires to write songs. In a way, Get Over It resembles a less successful version of She’s All That, subtly embracing the music video vibe that characterized the era—complete with a dance sequence early on featuring Vitamin C’s lip-syncing. The footnotes of teen angst are all there, from Burke’s dramatic belongings to various musical interludes like characters belting out Elvis Costello’s “Alison.” Interestingly, the film gives young Cisco a greater role than the character comparable to Usher in She’s All That.

But curiously, once the storyline turns to the musical aspect, the film stops the musical numbers for a while, opting instead for slapstick humor and cringe-worthy gags. Ultimately, while the film does embrace an exploration of music, most of what we hear might feel like awkward attempts at modernizing Shakespeare’s work. A notable scene happens when Kelly’s song unexpectedly replaces the planned tune, seen as a nod to Dunst’s singing abilities, which she later showcased in Spider-Man 3. Despite the unevenness, Dunst brings her emotional depth to the character, perhaps making the whole endeavor worthwhile. It really does feel as if she’s somewhat breezing through the chaos of this genre. Cisco and Vitamin C wrap things up with an upbeat number during the credits, a clear attempt to stretch the runtime. It’s a peculiar way to conclude the film, but it’s certainly reflective of 2001’s vibe.