Boyhood

Every once in a while there comes a movie so ambitious, so extensive, that it’s hard to believe the film itself could live up to the hype. Richard Linklater’s “Boyhood” seemed like the textbook definition of such a movie. 

Shot intermittently over 12 years, the eponymous boyhood belongs to Mason Jr. (Ellar Coltrane) who the audience sees through snapshots of his life starting when he’s only six years old. The film follows his growth and relationship with his divorced parents, Mason (Ethan Hawke, Before trilogy, Gattaca) and Olivia (Patricia Arquette, Holes, TV’s Medium), all the way through to when he’s just another 18-year-old leaving for college. 

The description of “Boyhood” seems like a project that’s cool in theory but couldn’t quite come together — how could it, carrying the narrative of one kid over the course of twelve years? But luckily, thanks to Linklater’s talent for realism and natural dialogue, the movie is a masterpiece.

If his “Before” trilogy was a sort of microcosm, examining the lives of two people within a certain number of hours, then “Boyhood” is the macro-cosmic other side of the coin: 12 years in only three hours. Its stance is vast, covering everything from divorce to abuse, to revelations of personal philosophies. 

There’s no three acts, no grand finale, per se. “Boyhood” barely even gives its characters a chance to stop and establish the changing years; the audience is left to deduce it from a character walking through a door and suddenly having braces, or a mop haircut.

But between the period-laden effect of the soundtrack, or clues left as time markers, the actors bring surprising honesty and authenticity to their roles. Hawke and Arquette are just as much in the thick of growing up as Coltrane is. It’s both rare and refreshing that “Boyhood” leaves its protagonist without a life-changing heart-to-heart with one of his parents, leaving him instead to develop his own sense of life.

Though most major events happen off screen, in between the episodes and snippets that Linklater chooses to show, the effects are still felt rippling through, providing an odd — but poignantly realistic — sort of narrative that carries throughout the film. Linklater sidesteps the “big” moments of Mason’s boyhood, what are normally considered the meatier action bits, to knowingly create a whole new way to capture adulthood.

Based on the way people are talking about “Boyhood,” it sounds as if it verges on pretentious, but the movie’s ability to stick to its simple nature, exploring the supposedly boring space between life’s bigger moments and revealing in them how much definition of our own character is there, keeps it grounded and authentic. 

The audience may not have gone through the same experiences Mason Jr. does, but there’s a little bit of everyone in Coltrane’s Mason Jr. As we watch him struggle with his crushes, his classmates, his sister, or his parents, we can all hearken back to a time where our growth crossed paths with his. 

As the film progresses, the characters become more nuanced, the actors become more experienced, and the whole production seems to knit itself together in a way no other movie really can. That’s probably the hand of Linklater’s stylized realism at work, mirroring how Mason Jr. might actually be recalling his boyhood. The coming-of-age cliches are stripped down and the traditional rites of passage removed until all that’s left is a simple boyhood; perhaps the most true-to-life coming-of-age film so far.

Verdict: A magnum-opus for all involved, “Boyhood” is the most realistic coming-of-age film yet

The Way Way Back

There’s not much to be said about creativity when it comes to coming-of-age stories.

Generally speaking, they don’t stray too far from the routine events that inevitably lead to teens coming into their own. Such predictability is often their undoing; it’s hard for a film to ring true when it rings every cliche in the book.

But every once and a while, an honest movie like “The Way, Way Back” comes along and makes it all worthwhile.

Predictably, 14-year-old Duncan (Liam James, from TV’s Psych, and The Killing) is having a lot of trouble fitting in. He’s socially awkward, disengaged, and unsure of what he’s going to get out of a summer at a beach house belonging to his mom’s (Toni Collette, About a Boy, Hitchcock) obnoxious boyfriend, Trent (Steve Carell, Little Miss Sunshine, Despicable Me).

But once Duncan arrives, he’s greeted by an eclectic bunch of small-town beach dwellers. He finds solace in his neighbor Susanna (AnnaSophia Robb, Bridge to Terabithia, Race to Witch Mountain) and a clandestine friendship with Owen (Sam Rockwell, Seven Psychopaths, Moon), the manager of the local water park.

Not much plot ingenuity here, sure, and the movie certainly has missteps. Between all of Duncan’s evolving relationships, it’s unclear what the central arc of the film is intended to be, and his bloom into adulthood seems to come with relative ease. The film wobbles a bit when the audience is left to infer his growth on its own during happy montages set to quiet indie rock.

But co-writers and co-directors Jim Rash and Nat Faxon don’t let that drag down the heart of the movie. Similar to their work in “The Descendants,” Rash and Faxon have a way of grounding the characters in “The Way, Way Back” with earnestness that makes them so much more than hackneyed personas, which is infinitely more fun to watch.

The story’s compassion and authenticity are aided by its all-star comedic cast; there’s not a weak link in the bunch, as all the actors bring a sincere depth to roles that could have easily been played as caricatures.

Rockwell’s Owen brings charm and genuineness to his role as the aloof mentor. Carell’s Trent could easily have simply been unlikeable (and he is, at times), but Carell grounds him so realistically it’s hard to look away. The only exception might be Allison Janney, who plays Susanna’s boozy and wacky mother as comic relief. But there’s pure gold in her zany antics. The cast is even well rounded out by the talents of consistently underutilized players Maya Rudolph (Bridesmaids, Away We Go) and Rob Corddry (Pain and Gain, Warm Bodies). 

“The Way, Way Back” doesn’t break many barriers when it comes to rehashing the themes of maturation and adulthood. But between the talented cast and the blend of comedy with not-too-sappy heart, the film is a cool break from the summer blockbuster season.

The Verdict: Like any coming-of-age story, it takes some liberties, but altogether it’s an earnest and funny summer flick.

The Kings of Summer

Boys in the wood. 

What happens to high school boys fed up of living with their parents? Joe Toy (Nick Robinson) is about to find out. Tired of living with his bitter, widowed father (Nick Offerman), Joe pitches an idea to his best friend Patrick (Gabriel Basso), who’s having his own parental issues: What if they built a house in the woods and lived off the land? After some consideration, they quickly gather up wood, canned goods, and an eccentric friend (Moises Arias) to construct a house, live in the wild, and learn what it means to become a man.

The film boasts a fairly large cast of heavy-hitting comedy actors: Nick Offerman, Megan Mullally, Mark Evan Jackson, and Alison Brie all show off their comedic chops as the “adult” voices. But like the construction in the film, the heavy lifting comes down to the trio of teenage boys.

As characters, they could be read as bland or unconvincing, but the three actors manage to bring them to a more relatable level. Their performances are earnest, if somewhat lacking in the nuance achieved by their older peers, but provide a believable window into the evolution of a teenager stuck in a slightly unbelievable tale.

Young boys running away from familial responsibilities is nothing original, but the film seeks to make up for that in heart. The relationship between Joe and his father balances itself between an awkwardly realistic portrayal of two people suffering a loss in their lives and your run of the mill, sarcastic, familial jabs. 

It’s indicative of the larger goal “Kings of Summer” tries to accomplish: blending comedic moments with a heartfelt coming of age tale, while staying a level above that of a sap-fest. In that regard, it bites off a bit more than it can chew. It has its moments of comedy, heartbreak, and growing up, but it doesn’t quite pack enough of an emotional punch to put it in a league of its own; the result is a bit of an unfocused film that changes gears faster than it can keep up with itself.

It feels like the movie can’t quite muster up the same strength Joe and his friends do to stake out some unclaimed territory in the realm of self-discovery. “Kings of Summer” is beautifully shot and has welcomed authenticity, but is ultimately a very safe look at teens and the problems they face growing up.

In the end, it’s a sweet, well-intentioned movie about a boy coming to terms with the world, and re-establishing a relationship with his gruff father. It’s well acted and pleasant enough that audiences might not care to remember its foibles, but it won’t be remembered as the height of coming of age tales. 

Verdict: It’s got a charming personality, but its reign won’t last long past summer.

Mud

Anybody who has ever seen a Matthew McConaughey movie knows what to expect: pretty-boy antics and a whole lot of abs. But in the past year, McConaughey has taken a step back from his typical rom-com antics for more off-kilter roles, like “Killer Joe” and “Bernie.” In his latest breakout movie, “Mud,” McConaughey applies his leading-man charm to a less-stereotypical character. 

“Mud” begins with two 14-year-old boys, Ellis (Tye Sheridan) and his best friend Neckbone (Jacob Lofland), who set out early one morning to explore a nearby island in search of a boat lodged in a tree. Their expedition is successful, but they quickly realize a man is already living in the boat, Mud (McConaughey).

Mud offers them a deal: They can have the boat, but first they need to help him get in touch with his long-lost lady-love, Juniper (Reese Witherspoon). Intrigued and ready for some excitement, the boys accept his terms and begin to help Mud, which soon becomes more dangerous than they had thought. 

The setting of “Mud” is key to the film. This isn’t just a movie about coping with growing up. The run-down, melancholy tone, alone, created by the gorgeous establishing shots of waterways, sets the stage for a much different tale of heartbreak than any sort of metropolitan landscape could provide. It’s one of the few ways the film sets itself apart from other coming-of-age tales, but it’s essential. 

This isn’t McConaughey’s furthest venture from his comfort zone (“Killer Joe” verges on scarring), but he does a good job melding his typical alluring persona with Mud’s wild and fishy side. The movie wouldn’t work if the audience wasn’t questioning the validity of Mud’s motives. 

As the boys make their way through Mud’s tales and Arkansas’s waterways, the effectiveness of the film’s story rests on the shoulders of the young actors in “Mud.” Sheridan’s lingering sensitive side in the face of growing up is balanced by Lofland’s role as a comedic foil. 

Director Jeff Nichols uses the characters to teach young and naive Ellis — who is as surrounded by failing relationships as he is by the run-down southern countryside — about the tougher side of life and love.

It’s not a particularly innovative film, and it doesn’t have much new to say about kids growing up, but there’s something to be said for the genuine and not sappy quality of the movie. 

By the end, “Mud” starts to feel a little long at 130 minutes, lingering where there are no surprises for the audience. It attempts to complicate and build what is, at heart, a fairly simple story of coming to terms with the world. Though the lag distracts from what’s otherwise an engaging Southern drama, there are stories to be told in “Mud” that make it worth a view. 

The verdict: Nothing new, but “Mud” is a charming enough coming-of-age drama with great performances all around. 

The Perks of Being a Wallflower

Oh no, not another teen movie.  The movie industry has churned emo after angsty film about how kids don’t fit in because they listen to The Smiths or wear cigarette thin skinny jeans.  These films often mistake melancholy for complexity and assume that MPDGs (girl or guy) or montage makeovers are instant remedies for social awkwardness.  Wallflower does fall victim to some of these tropes, but easily compensates these shortcomings with sincerity and honesty.  

The Perks of Being A Wallflower, based off the hit novel (which neither of us have read, so we can’t really speak to it as an adaptation), follow the introverted high school freshman Charlie (Logan Lerman, Percy Jackson, Gamer) through his roller-coaster freshman year.  His seclusive and quirky behavior quickly ostracizes him from his classmates. In a rare show of courage, Charlie makes friends with Sam (Emma Watson, Harry Potter films) and Patrick (Ezra Miller, We Need to Talk About Kevin), indoctrinate him into their motley crew of misfits and a life beyond his depression.

Stephen Chbosky takes on triple duty, being the author, screenwriter, and director (his debut no less).  The rookie director shows tremendous control and conviction throughout the film, notably through his navigation of different adolescent ambiances.  We feel Charlie’s ironic sense of existentially morose isolation in large groups but the same time we feel his invincibility of being able to make ephemeral moments infinite.

The movie wouldn’t be as profound if it didn’t have the acting chops to back it up. The three main stars, notably, all deliver more than solid performances; transforming what could’ve been mundane angst into realized emotions. Lerman and Miller in particular bring depth to their characters that lingers even when they’re off camera. Watson herself dons a pretty passable American accent and rises above the MPDG trope into a fleshed out female character.

Is Wallflower Rebel Without a Cause? No. Is it a John Hughes film? No.  There are moments of forced poignancy as well as over pretension.  As Ezra Miller’s character points out “My life is officially an afterschool special.”  And yes, you will feel this way.  But even the rather minor infuriations help elucidate not only adolescence, but our condition as well.  We profess our affection for obscure bands to feel unique, or over inflate instances to give our life significance.  But these imperfections help us grow and in the case of Wallower, helps it blossom.  So yes, there are definitely perks to seeing Wallflower.        

 

Beasts of the Southern Wild

Comic book movies are suffocating the market with repetitive cadence and plot lines.  When you decide you are done watching the 10th reboot, sequel, or whatever, Beasts of Southern Wild could be a nice change of pace.  

Beasts tells the story of the spunky six-year-old Hushpuppy living in “the Bathtub”  a delta found in Louisiana. The film grapples Hushpuppy’s complex rearing through the ferocity of her father Wink, anxiety of a post Hurricane Katrina Bathtub, and queries of existence.

As Benh’s debut film, we see a lot of promise in his fledgling career.  The film is kinetic and full of life, but at the same time moist and heavy. His camera captures both flashes of Mallick and Pan’s Labyrinth. We feel the humidity of the bayou, smell the pungent aroma of wet animals, and the fury of the hurricane.  With such a visceral and unrelenting home, Benh still balances the vibrancy of life with a decaying community.  

Quvenzhané Wallis as Hushpuppy gives an absolutely astonishing performance as the fiery Hushpuppy and may be the frontrunner for an Oscar.  Her performance and narration gives the film both a heart of innocence and an inquisitive existential lens.  Wink played by Dwight Henry (a baker local to Louisiana) is absolute dynamite breathing a fire into the film fueled by alcohol and fatherly devotion.

That said, the film it not for everyone.  The camera work is very shaky. Although it grounds the film in staunch realism, it can also give you more vertigo than Jimmy Stewart.  The film can be hard to watch and mentally demanding, but it is the bravest and boldest piece of cinema made this year.  Those willing to challenge themselves will will reap Beast’s rich rewards, which it sure is bountiful in.

Brave

Pixar faithful were excited for a return to relevancy once again.  After the cash-cow misfire of Cars 2, the crafty 3-D studio was ready to unveil their newest delight, in their first female protagonist, Merida.  Brave, while certainly an upgrade from Cars 2, still leaves you a bit disappointed.  It feels like your straight-A-student brought home a B-.  

As far a children’s movie, the film is still a lot of fun.  Kelly MacDonald (Boardwalk Empire, Trainspotting) delivers a fiery performance, giving Merida a precocious and delicious spunk.  The film balances both mischievous slapstick and charged action sequences.  However, all of this is set in a majestically crafted backdrop of the lyrical and misty highlands of 10th century Scotland.  Pixar has truly outdone themselves this time.  The cinematography is completely immersive, give both a somber yet enchanting ambiance.  The technical proficiency of the animation (for instance Merida’s fiery bob) is absolutely stunning. You can feel the mist tickling your face and the smell of pine enticing your nose.

However, that is where the good news ends.  Brave is your typical story of teenage daughter clashing with close-minded mother.  The mom gets turned into a bear and now they have to learn to get along, or she’ll remain a bear forever.  Just like Studio Ghibli, an animation of Pixar’s caliber can’t get away with such elementary plot lines.  The studio has become renowned for blending both innocence and mature themes allowing to them to appeal to a wide array of audiences.  But with such a recycled writing style, older crowds become quickly alienated and bored. While the movie does delve into interesting themes with its handling of mature decision making and the mother-daughter relationship, the movie doesn’t reach the heights of adulthood that other Pixar movies achieved.

While Pixar latest venture is a fun-flick, presenting mature characters packed with complexity to a wide-eyed audience, that truly would have been brave.