With that, the film enters a long lather-rinse-repeat cycle in which Clare makes a new wish (riches, popularity, the affections of a mouthbreathing hunk (Mitchell Slaggert), a less-embarrassing father), and we wait to see which supporting player will get it next. A mysterious death in Clare’s circle soon follows. Luckily, Clare knows just enough Chinese to read the part of the inscription that reads “seven wishes,” but not enough to read all the other parts, and so she makes an idle wish that Darcie might “just go rot.” The next day, Darcie wakes up with necrotizing fasciitis. One day, he finds an octagonal music box covered in Mandarin characters in a cemetery garbage bin, and leaves it on Clare’s bed as a present. Since then, her house has fallen into total disrepair – her old training bike hasn’t even been moved from the front lawn in the ten years since, which seems a bit extreme – plus she’s bullied by a Regina George-clone named Darcie (Josephine Langford) at school, and her scraggly, depressive father (Phillippe) spends his days dumpster-diving for scrap metal. Seen as a young girl in flashback, she once lived in an idyllic suburban home, until the day she came back from a bike ride to find her mother (Elizabeth Rohm) hanging from a noose in the attic. Said heroine is 17-year-old Clare ( Joey King), a plucky if not-so-bright wallflower with a dark upbringing.
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