In her directorial debut, Rebel Wilson brings "The Deb," an Australian musical, to the Toronto International Film Festival as the closing night film. However, the film arrives amidst ongoing drama and controversy surrounding allegations of misconduct and embezzlement made by Wilson against two of the film's producers.

"The Deb" tells the story of Taylah, played by newcomer Natalie Abbott, an outcast who eagerly anticipates the tradition of teenage debutante balls despite lacking a date. The arrival of her cousin Maeve, portrayed by Charlotte MacInnes, adds a chaotic twist to the story. Maeve, an influencer expelled for her unconventional protest against the school's dress code, is banished to Taylah's conservative town, offering a chance for redemption.

Wilson succeeds in delivering a charmer reminiscent of aughts-era comedies like "The Sisterhood of the Traveling Pants." The film's most satisfying element lies in the evolving relationship between Taylah and Maeve, with their bond growing stronger and facing expected challenges. Abbott's breakthrough role as Taylah brings warmth and magnetism, while MacInnes adds a delightfully rascally flair to their contrasting characters.

Despite its commendable attempt to follow the traditions of female-led, crowd-pleasing comedies, "The Deb" stumbles with its soundtrack. Among a festival lineup featuring impressive musical scores, the film's songs lack originality and feel derivative. The combination of the subpar soundtrack and inconsistent tone exposes the film's cringe-worthy moments and confusion.

The use of profanity in the lyrics, juxtaposed with a tone seemingly aimed at tweens, raises questions about the target audience's suitability. Wilson's reliance on cheap jokes and mean-spirited perspectives on the characters stifles the film's uplifting vibe. Retrograde humor, such as slut-shaming and mocking a child identifying as a koala, tarnishes the film's message.

Moreover, "The Deb" attempts to critique young people's behavior on the internet while simultaneously engaging in it. References to concepts like the Bechdel test and manic pixie dream girls lack self-awareness and come across as scolding rather than a knowing wink. The film's confusion is most evident in its treatment of characters like Maeve and Taylah, whom it both tears down and champions, leaving the audience unsure of the film's intended message.

In the end, "The Deb" emerges as a film that despises the very audience it seeks to appeal to. Wilson's directorial debut may have its enjoyable moments, particularly in the dynamic between Taylah and Maeve, but the overall execution suffers from an identity crisis and a soundtrack that fails to impress. As the closing night film of the Toronto International Film Festival, "The Deb" leaves mixed impressions and room for improvement in future endeavors.

Note: The information and opinions expressed in this article are based on the provided text and do not necessarily reflect personal views or beliefs.