In 2006, Jonathan Levine put the finishing touches on what was supposed to be his debut feature, “All the Boys Love Mandy Lane,” an erratic deconstruction of the teen slasher film. Then it sat on the shelf.
Finally released after all these years, the movie doesn’t show many signs of the talent exhibited in his best work, “The Wackness” (2008). They both explore themes of teen anomie and angst, but the latter (which, unlike “Mandy,” Levine also wrote), seems more about life than about generic conventions. Despite moments of black comedy and some memorable images, this “debut’’ doesn’t offer a lot to love.