Elliott, a vacuous, self-satisfied, snarky Canadian teenager (Maisy Stella) is visited by her 39 year old self (Aubrey Plaza) during a mushroom trip. Plaza’s old ass has much to say to Elliott’s young ass, much of it a violation of the Prime Directive, the guiding principle of Starfleet that prohibits its members from interfering with the natural development of alien civilizations.

Yes. I watched Star Trek. What of it?

The set-up is well worn. Elliott wants to swap the family cranberry farm for the big city of Toronto. She is meant to be celebrated for her freedom and grab-life-by-the fistful approach. She’s gonna’ shake the red juice off her small town boots and let loose before global warming interferes with her cell service. She’s a rebel. But she’s also a loudly stupid and narcissistic rebel, and all the soft piano, oboe, and terrible acoustic dirges cannot make her anything other than grating.

With a lead who could act and a less obvious, smarter script, My Old Ass could have been a clever twist on the coming of age flick, Freaky Friday meets A Christmas Carol.

Stella (member of the music duo Lennon & Maisy), however, cannot act. She is one-note, snotty, and charmless. And with her mien, so goes the picture.

For example, the film has a few genuine moments where Plaza, Elliott’s mother, and her would-be first boyfriend all present Elliott with a remembrance, a well-rendered insight, a moment of tenderness. In response, Elliott – not allowed to say “dude, what the fuck? for the umpteenth time – offers a “dude, what the fuck?” countenance. Any expressed emotion crashes into her stubbornly smug visage. Such that we are thinking, “Miley Cyrus could have really done something with this role!”

Worse, no one has bothered to make the trick explainable. After the drug trip ends, inexplicably, Plaza still texts and calls and visits Elliott. Tripping as portal to an Apple data plan? This is lazy mush, indicative of the ragged nature of this endeavor. 

The script is mostly middling sitcom. Plaza and Elliott say cool stuff like “when do we …?” Followed by “oh my God. This happens …” Plaza says to Elliott: “Moisturize!” Elliott replies with a form of “What the fuck? Dude!???” Elliott to Plaza: “Can I kiss you?” Plaza replies with “ewwwwwwwwwwww!” or some derivation of same. Stella says “fuck” and “dude” and “like” and “sick” a lot. She spouts hip cliche’-ridden observations that may tickle the fancy of an 18 year old peer, but test the patience of anyone who has read a magazine. Or a cereal box.

When we get to the meat, Plaza reveals a particular thing Elliott must prepare for, something so obvious, it seems perfunctorily preordained. It is asked to serve as the emotional linchpin of the movie, yet the most Stella can muster is the disappointment of a girl who pours a bowl of Lucky Charms only to find a low marshmallow count. 

Sometimes, in these flicks, you get some funny, well-drawn secondary characters who maybe could drag Stella along. But everybody is pretty vanilla and meh.

The film might have been saved if Plaza told Elliott not to take a particular hike and she did it anyway and then she was almost murdered by the Green River killer.

Missed opportunity. 

Last point. Yes, teens say “like” and “fuck” nonstop, like men in war curse beyond any comprehension. But to actually let characters lapse into this doggerel in a script? Jesus. It may as well be serial farting. 

The picture was on a few top 25s and 50s and very highly rated on Rottentomatoes.com.

Undeservedly so. Like dude, what the fuck. 

On Amazon. Thankfully, for free.