Rebel Wilson returned to the Toronto International Film Festival with her second directorial effort, Girl Group, a musical comedy that aims to capture the magic of her earlier hits but falls short. Two years after her debut, The Deb, earned praise, Wilson's latest feels like a step backward, with a script that leans on tired gags and a story that never quite clicks.
The film follows Tassie Young (Wilson), a former teen pop star who left her group Gurlfriends for a solo career that fizzled. When the band announces a reunion, Tassie is eager to rejoin, only to discover she's been replaced by Nicole Scherzinger's character. A DUI lands her in community service at a Los Angeles youth center, where she's tasked with coaching a group of aspiring young singers. The setup promises an underdog story, but the execution leaves much to be desired.
A Promising Premise, Lost in Execution
Wilson's script introduces a colorful cast, including the girls of Xplode—Tyler, Kiah, La La, Henrietta, Bailey, and Pippin—each with potential but little room to shine. The rivalry with the Cream Team, led by Jamie-Lee O'Donnell's Miss Candy, adds a layer of tension, but the characters remain thinly drawn. Even the flashbacks with Sally Hawkins as Tassie's mentor feel rushed, sacrificing emotional depth for quick laughs.
The film's humor often misses the mark, recycling jokes that feel all too familiar to Wilson's previous work. A gross-out moment reminiscent of Bridesmaids lacks the buildup that made that film's comedy land. The script even name-drops Pitch Perfect, drawing unflattering comparisons that highlight the gap between Wilson's past successes and this effort.
Star Power Can't Save the Script
Despite the presence of Melanie C and Shaznay Lewis, the film's musical numbers fail to ignite. The young cast brings energy, but the choreography and songwriting feel generic. Wilson's own performance as Tassie is a retread of her usual persona—confident, brash, and prone to bad decisions—but without the freshness that made her earlier roles memorable.
The film's message about female empowerment is undercut by its own jokes, particularly those targeting the girls' appearances. In a story meant to celebrate individuality, the humor often reinforces the very stereotypes it claims to challenge. By the time the finale rolls around, the supposed triumph feels unearned.
While Girl Group has its moments—thanks largely to the charm of its young performers—it ultimately fails to deliver the feel-good energy of Wilson's best work. For fans of musical comedies, it might be worth a watch, but it's unlikely to leave a lasting impression. For a deeper dive into the world of pop music nostalgia, check out our interview with the directors of Forgotten Island.
As Wilson continues to carve her path as a director, one hopes her next project will find the voice that Girl Group so desperately lacks. Until then, audiences may want to revisit her earlier hits, like Keanu Reeves' Good Fortune, for a more satisfying dose of comedy.
