Hayley (Emily Browning) and Jack (Thomas Dekker) are the brother-sister duo and singers/songwriters of the band Plush. As the band begins to make a name for itself, Hayley meets a crime journalist named Carter (Cam Gigandet) whom she marries and has two twin sons with. After Hayley's marriage, Jack spirals into depression and is found dead while Plush is on tour. The writing suddenly stops for Hayley, the band ceases to make new music, and the fate of Plush remains up in the air. But then Hayley finds inspiration in her brother's death and writes a new album revolving around and devoted to Jack. While Plush is back on the road, their new release isn't exactly welcomed with open arms and Hayley finds herself struggling once again.
Hayley turns to Enzo (Xavier Samuel), the new guitarist who was brought in after Jack's passing, and winds up giving everything to him romantically and creatively. Enzo is seen as a visionary as his artistic influence is expected to push Plush into a new direction that the band desperately needs. However, Enzo's obsession with Hayley becomes overbearing as he begins leaping over personal boundaries and invading Hayley's personal life. The future of Plush shuffles to the back of the pile as Hayley begins to think that her life is in danger, her marriage is in trouble, and that she may have added fuel to the fire for a complete psychopath.
The big selling point of "Plush" is that it's from the director of "Twilight." While that is true, Catherine Hardwicke also directed "Lords of Dogtown" and "Red Riding Hood," so you probably know what you're in for just by looking at the Texas born director's previous works. Both Cam Gigandet and Xavier Samuel found themselves in "Twilight" sequels while Emily Browning has mostly bounced around horror films ("Ghost Ship," "Darkness Falls," "The Uninvited") and whatever you consider "Sucker Punch" to be. Assuming that "Plush" is an overloaded drama packed to the brim with sex and romance is a pretty fair assessment.
But the issue is that the writing of the film is very uneven and sloppy. The opening itself is unlike anything that occurs for the next hour. In an underground mine of some kind, a mysterious person is playing with the mining equipment; pulling on pulleys and wheeling around carts full of rocks. A girl tied up in a chair is revealed as a load of rocks is dumped on her and she dies under the rockslide. The killer approaches the pile, digs out the woman's hand, and takes the restraint off her wrist. After turning her hand palm up, you see the title of the film on the veins in her wrist before really obnoxious music begins to play and the opening credits begin. The film mostly plays out like any other romantic drama; a happily married woman somehow finds comfort in a tragic event in the bad boy closest to her and provides something that her husband cannot. But it somehow completely switches gears in the last 20 minutes and tries to be this heart racing thriller that is borderline horror at times.
The music of the film is just noise, loud sounds, and most lyrics replaced with screaming or moans and groans. It tries to be industrial, but every song sounds exactly the same. The three main characters of the film are perhaps the worst culprits of terrible writing. Hayley doesn't seem to understand why her life goes in the direction it goes in by the time everything hits the fan. She makes poor decision after poor decision and then wonders why things can't just go back to the way they were. She writes terrible emo music, but then cries when no one likes it. Carter is a crime journalist but spends more time worried about balancing out the tree in the backyard and digging holes.
Finally there's Enzo who is the worst rock star guitarist of all time. Everyone thinks he likes guys at the beginning of the film since he's shown making out with one early on. He becomes upset being called "gay" though, tries to be a tough guy by hiding in the restroom and drawing a knife on a deer, throws the term "girlfriend" around, and is totally into S&M and dressing up in kinky and revealing outfits. You question if Enzo was just putting on an act to get noticed, but even then it doesn't excuse the drastic change in behavior later on. Xavier Samuel is treading familiar ground here as Enzo is awfully similar to Ian from "Adore." Enzo becomes a bit more complex in the final act, but the issue is he isn't crazy enough. He doesn't take the role far enough to really be intriguing. He mostly just throws a few temper tantrums and is expected to be taken as insane.
"Plush" feels too familiar to leave any sort of impression. It throws together a cast that is mostly full of actors from similar genres, but even then "Plush" seems like a rehash of everything each actor did previously. The erotic thriller gives too much time to this imitation band. It almost feels like a documentary behind the band, but not in the good "This is Spinal Tap" kind of way. The characters just aren't fleshed out properly as each one feels so flat, one-dimensional, and lacks any sort of depth at all.
"Plush" seems like a modern take on "Fear" with more sex, polished picture perfect actors, and crappier music, but the film is so bland that no one will take notice. Its "Twilight" writing set in an R-rated world. While "Twilight" fans will scream excitedly at the thought, the rest of us will gauge our eyes and ears out with the closest sharp and pointy object.
Special features on the DVD include music videos Half of Me Remix (2:30) and Enzo Unleashed (2:15), two teaser trailers, and previews for “Parkland,” “Hell Baby,” “What Maisie Knew,” “Stuck in Love,” “The Iceman,” “Upside Down,” and “As I Lay Dying.”