So 6 early twenty-somethings share different accounts of the same night during which their lives interlink within the club scene to which they belong. The premise does little for viewers who have contempt for a demographic young enough to dream and not old enough to know better.
Luckily, favorable casting made Spin not just watchable, but enjoyable. Bijou Phillips (Almost Famous), Katie Cassidy (Melrose Place [2.0]) and Patrick Flueger* (The 4400) all demonstrate that greater Hollywood is missing out by not casting them in bigger roles. But with screen veteran/dark horse Michael Biehn also appearing in the film, director Henry Pincus gets points for consistency.
Spin came out in 2007, roughly a year before the financial crisis set in completely, leaving a very small window during which audiences had patience for young people’s make-believe problems. But despite the absence of a lasting market for the story, its web of coincidences (a la Doug Liman’s Go in 1999) make it possible for an audience to temporarily forget its resentment of wasted youth.
Instead of being an unwavering affirmation of being 23 years old or an indictment of the carelessness exhibited by that same age group, Spin leaves it up to the audience to make their own commentary on the reality it depicts. In that sense, the movie has no lasting impact as an anthem for any specific generation (since most people look back on that period of their lives with the bitterness of lost hope). With the exception of the existence of cell phones, Spin could be dropped into any era with the same resonance.
So whether you want to bemoan the LA club scene, reminisce about your own carefree days, or just look at pretty people performing a script that the depicted lifestyle barely deserves, give Spin a try.