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These days, there are so many raunch/gross-out fests being filmed that not all of them can make it to the big screen. "100 Girls" is a straight-to-video entry in the teen-sex comedy genre. The title of the film, while accurate, may mislead some people into thinking that the story eventually involves 100 girls in some sort of mass orgy.
In "100 Girls," Matt (Jonathan Tucker) faces a powerful dilemma. One night during a blackout, he finds himself in an elevator alone with a girl. She was carrying a load of laundry in front of her face, so Matt did not get a good look at her. During the course of the evening, the two become rather intimate. When he wakes up in the morning, the girl is no longer in the elevator with him.
Thus begins Mattīs quest--to find the girl to whom he lost his virginity. He finds a job as a maintenance boy so that every time there is some sort of mechanical "problem" (created by Matt, of course), he has an excuse to head on over into the girlsī dorm to look around for clues. The mystery girl left a pair of panties with him, so he begins by trying to find a bra to match the panties.
Is it Arlene (Katherine Heigl), the aggressive, pneumatic tomboy? Is it Cynthia (Jaime Pressly), the one with the lips? Is it Dora (Marissa Ribisi), the lonely bookworm? Maybe itīs Wendy (the delightfully cute Larisa Oleynik), the girl whoīs the kind you bring home to meet the parents?
Of all things, "100 Girls" begins to resemble "What Women Want," wherein a man with sex on the brain begins to see the world from a female perspective and begins to help women. This is the weakest part of the screenplay. Matt helps an "unattractive" girl feel sexy and erotic. He takes a "womenīs studies" course, just as Mel Gibson takes a yoga course attended by mostly women. He connects with Arlene (Katherine Heigl) when they team up for a game of foosball. He helps the dormīs girls get revenge on a lout of a guy who sexually assaults women. At one point during the film, he even proclaims that men suck when compared to the goodness and purity of women. Matt is too young to be introspective and perceptive enough to do what Mel Gibson does in "What Women Want," and the film almost chokes on its own false sincerity by wanting to have its cake and eat it, too.
The film recovers its footing, though, by reminding itself and the audience that Matt represents the inner geek in all of us, the insecure inner voice always questioning if we have the guts to just go out there and seize the moment. By reconnecting with the "loser" factor, the film makes Mattīs eventual victory seem justified and palatable.
Jonathan Tucker does just fine in the lead. He has to carry the film by himself, lacking the ensemble support that Jason Biggs enjoys in the "American Pie" films, but Tucker seems unfazed by all the commotion. James DeBello is a hoot as Rob, Mattīs roommate, and the "girls" all deliver serviceable, if not-so-memorable, turns. However, Larisa Oleynik and Katherine Heigl are absolutely wonderful, despite their limited screen time. They steal the show.
"100 Girls" had the misfortune of arriving at the heels of the "American Pie" flicks, and this film will certainly be compared to those box-office behemoths. "100 Girls" lacks the outrageous pranks and sight gags of Jim, Jimīs dad, and Company. However, "100 Girls" is wilder and raunchier than the "Pies" in terms of its brutally in-your-face dialogue. Matt and the other characters, including the goody-goody Wendy, converse unflinchingly about genitalia as if they were talking about a finger or an arm. Also, the sight of Rob wearing "penile weights" is a constant source of chuckles.
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