No one is even mildly objectionable, because everyone is supposed to be accepted for who and what they are, and that message is a lot easier to sell when everyone is flawless and wonderful. By the end of the movie, you actually want someone to be more of a selfish jerk. Jerrica’s dead father even loves her enough to send her on a tiny-robot-driven scavenger hunt of life lessons from beyond the grave (yes, really). They also love Aunt Bailey, so much so camera-shy Jerrica takes on a musical career to save the house they’re about to lose. The sisters love each other and solve many of their problems by breaking into harmonies. Good god, there is so much love and affection. Less effective is the sugar-sweet sentimentality oozing through the move. Lewis chews up the scenery, strutting, frowning, and insulting everyone around her, but her venomous jabs are clever, and because Jem and the Holograms is at its best when it plays with its own ridiculousness, it works pretty well. Chu ( Justin Bieber: Never Say Never, Step Up 2: The Streets) doesn’t bother making her even moderately likable. Erica is clearly the villain, and thankfully, director Jon M. This is where the fun begins, because Juliette Lewis as studio head Erica Raymond is one of the highlights of the film. Kimber leaks a video of Jerrica singing an original song as “Jem”, and it starts a nationwide obsession with the mysterious Jem, which in turn leads to a recording contract offer with big deal music studio Starlight Enterprises. They also like music, and Jerrica is particularly talented. The story starts slowly, taking too long to establish the basic premise: Jerrica Benton, played by Aubrey Peeples, her sister Kimber (Stefanie Scott), and her foster sisters Aja and Shana (Hayley Kiyoko and Aurora Perrineau) love each other, as well as their financially unstable aunt/foster mother Bailey (Molly Ringwald). And while there’s nothing wrong with making a film for children, there are movies that do a much better job.
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The film does pay homage to the TV show that inspired it – almost every word to the original Jem and the Holograms theme song is uttered at some point during the two hour movie – but it’s targeted toward a younger, more social media-obsessed generation. At best, it was for a version of me that has made more productive use of her reproductive powers: a former Jem fan who would drag her 8- and 10-year-old daughters to the theater for a little nostalgia and a feel good lesson in non-conformity. It quickly becomes clear that this Jem and the Holograms was never for me. Jem and the Holograms is not a terrible movie, but by being fiercely mediocre, it squanders the goodwill on which it’s depending to attract audiences. As it turns out, trepidation was the appropriate response. And so, like many book, comic, and TV-show fans before me, I greeted the news that Jem and her Holograms were bound for the big screen with a mix of excitement and trepidation. In a sign of my parents’ love and surrender, one Christmas Santa even brought me the Jem Fashion Flash game. I owned every doll, every cassette, every accessory, and poster. But no obsession in my life has ever burned as bright or clean as the first: I was a five-year-old Jem superfan. I’ve fostered a number of obsessions in my life, from The Baby-Sitters Club to The West Wing to a nice oaky chardonnay.
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