Review of Veronica Mars (2014) by Lauren S — 30 Mar 2014

I suppose I should preface this by saying that I have seen the entire Veronica Mars series (all three seasons of it) and, might I add, quite recently.Though I typically write a review after only one screening (so as not to cloud my original findings) it was impossible to do so here.

Much like the far too short-lived "Firefly" (Joss Whedon), "Veronica Mars" was cancelled before its time, according to both fans (fondly called "Marshmallows") and cast and crew. Despite several attempts to keep the show running (an open-ended finale, a 14-minute pitch to Warner Brother's of a season 4 pilot involving Veronica at the FBI, and numerous fan pleas), creator Rob Thomas never was able to continue.

Fast forward seven years and one extremely successful, multi-million dollar Kickstarter campaign later, and everyone's favorite private eye was back, older and wiser, but no less compelling.

Far away from the corrupt and politically charged down of Neptune, California, Veronica Mars (Kristen Bell) has just graduated from Columbia Law School and is on her way to becoming a big-time corporate lawyer in New York City, having interviewed with a big firm. Everything we know and love about Veronica seems to be gone, but she seems to have her life figured out. Then comes a phone call from a high school on-and-off-again boyfriend, Logan Echolls (Jason Dohring), uttering those words we know so well: "I need your help, Veronica.".

He's been accused of murdering his girlfriend, Carrie Bishop (once memorably played in the TV show by Leighton Meester) and, despite nine years of silence between himself and Veronica following a rough break-up, he knows she's the only one he can trust now.

Veronica reluctantly agrees to fly out to Neptune, leaving behind her steady, safe former college fling and now boyfriend Stosh Piznarski (Chris Lowell) and a potential new job. She is immediately pulled back into the drama of Neptune, realizing that it hasn't changed much since she left.

Coincidentally coinciding with her 10 year high school reunion, Veronica's case brings her in contact with old friends and enemies alike, including her best friend Wallace Fennel (Percy Daggs III), tech genius Cindy "Mac" MacKenzie (Tina Majorino), surfer and ladies man Dick Casablancas (Ryan Hansen) and socialite Gia Goodman (Krysten Ritter), to name a few. Rob Thomas has no trouble bringing back beloved characters at the reunion, a nudge to the show's cult-like fanbase.

The murder plot itself is more episode-of-the-week than film-worthy, with slightly predictable twists and turns, but the "I know what happened" revelation towards the end is still surprising. True to Rob Thomas's style, there are several subplots: the reunion, corruption in the sheriff's department, class wars, that keep the film moving at a clip pace.

While they don't distract from the main story, most of the plots are left open, most likely to open the doors for a sequel, another book or two ("Veronica Mars: The Thousand-Dollar Tan Line" was released a week after the film opened), and Thomas has not been shy in mentioning his desire for a Netflix series reboot.

The most compelling scenes are between Veronica and her father, Keith Mars (Enrico Colantoni) the former Sheriff before he was ousted after making a false accusation. Veronica and Keith have one of the strongest father-daughter relationships ever on TV, and Bell and Colantoni have undeniable chemistry. If anything, the film didn't have enough of them.

Bell picks up right where she left off, and any fears that she had lost Veronica in her continuing film and TV career (she is a regular on Showtime's "House of Lies" and most recently lent her voice to the character of Anna in Disney hugely successful "Frozen") are instantly dispelled the moment Veronica is faced with having to explain an explicit tape that was released in college. "The sex tape? No need to be coy," she quips to the interviewer, a wry smile playing across her lips. Bell may look different, (she had just given birth to daughter Lincoln two months before filming) but she slides back into Veronica as easily as she does into her character's trademark leather jacket.

For the uniformed viewer who hasn't seen the TV series, "Veronica Mars" might be hard to get into. There are a number of characters who disappear from the screen as quickly as they appear, and a number of in-jokes that will be lost on them. But the studio prepared for this, and the film opens with a quick, three-minute introduction recap, explaining the basic plot of the three seasons. It's enough to get a casual viewer in the know, though perhaps not enough to get them invested.

For the fans, this film is a gem. From the opening monologue to the ending credits overlay by the Dandy Warhol's "We Used to be Friends" (the TV show's theme song), there are references, nudges, cameos (including one very memorable scene between Bell and real-life husband Dax Shepard), Easter eggs, and in-jokes that only fans will understand. The class reunion is the perfect way to bring in familiar faces (Madison Sinclair and Corney, anyone?), and the now infamous Kickstarter backers even make an appearance. The long-awaited scenes between Veronica and Logan are predictably steamy and chemistry-charged, for Bell and Dohring have a connection that is clear to see even though a camera lens.

For the most part, "Veronica Mars" doesn't disappoint, doesn't lull, and doesn't shy away from the sticky subjects of addiction, class statuses and murder. It is beautifully shot, with compelling viewpoints, colors and subtext within the cinematography. It will most definitely leave fans of the show wanting more. And you know what they say. Veronica Mars: she's a marshmallow.