Faster than you can say “getting-to-know-you montage,” the trio start getting along nicely. Minor conflict ensues when Scooter’s budding teenage sexuality nurtures a crush on the couple’s pal Wayne (Caleb Packham), though he’s more interested in playing sandwich with the two men. More serious are mum Sharon’s (May Lloyd) long-distance demands that Scooter return home.
None of this escapes rote cliche, from sketching of Mom as a bitter harpy to the expected, cutesy reconciliation (at a McDonald’s, which inadvertently reflects script’s generic approach). One potentially interesting development comes when Pete, who’d at first welcomed this new “family” setup, begins feeling more put-upon than parental. He bolts the nest, and a guilt-ridden Scooter then runs away too. But these problems are resolved without any suspense or imagination.
Harvey and Franklin make a handsome, credible pair despite screenplay’s scant character depth. Smart, however, has grown from an intriguing child thesp (“Celia,” “The Shiralee”) into an unappealing near-adult one, rendering her character more irksome than sympathetically confused. New Zealand-born soph helmer Richard Turner (“Squeeze”) does nothing to infuse low-budget production with personality. Tech aspects are mediocre, synth score and various soundtracked rock tunes (“All that I am/Is what I want to be,” etc.) equally banal.