Category Archives: Coming-of-Age

1955 Films, Coming-of-Age, Drama, Melodrama, Romantic Drama, Top 250 Films

Rebel Without a Cause-1955

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Rebel Without a Cause-1955

Director Nicholas Ray

Starring James Dean, Natalie Wood

Top 250 Films #112

Scott’s Review #885

Reviewed April 14, 2019

Grade: A

Rebel Without a Cause (1955) is usually most associated with being the best-remembered film of star James Dean’s short-lived career. East of Eden (1955) and Giant (1956) are his other notable films in a far too brief span of time.

With Rebel Without a Cause, Dean and underappreciated director Nicholas Ray crafted a story about teenage angst and rebellion that is brilliantly authentic and was the first of its kind to influence countless other films.

In Los Angeles, three teenagers meet and commiserate at the juvenile section of the police station, revealing their respective crimes.

Jim Stark (Dean) has been brought in for drunkenness and meets John “Plato” Crawford (Sal Mineo), who was brought in for killing a litter of puppies, and Judy (Natalie Wood), who was brought in for curfew violation.

All three suffer from problems at home and confide in one another. Their most profound revelations connect them and bond them for life.

To complicate matters, Jim is a new student and must endure the challenges that come with it, in addition to his troubled home life.

His main rival is Buzz Gunderson (Corey Allen), who challenges Jim to a knife fight and, finally, a deadly “Chickie Run” game.

This leads to Buzz’s death, which infuriates his gang, who mistakenly assume that Jim ratted them off to the cops. This puts a target on Jim’s back as he slowly falls in love with Judy and develops a deep friendship with Sal, who idolizes him.

One key to the success of Rebel Without a Cause is in the casting. Dean, rebellious in real life and the roles he portrayed, chews up each scene he appears in.

The famous scene in which Jim quarrels with his father (Jim Backus) culminates in a dramatic emotional unraveling and an exclamation of “You’re tearing me apart!” as his blind-sided parents bicker over how best to handle the situation.

Dean is a pivotal reason for the film’s success and landmark status.

Wood infuses her character, Judy, with poignancy and a calm demeanor. Judy is a good kid who behaves wildly out of frustration over her inability to communicate with her deliberately distant father (William Hopper).

Finally, Plato (Mineo), who is so sensitive that he threatens to break apart at the seams, has taken to killing puppies as a desperate cry for attention from his wealthy, always absent parents.

Wood and Mineo support the film brilliantly.

Jim and Judy are likable as a pair from opposite sides of the tracks, another influential aspect of the film that became commonplace in oodles of entertainment genres over the years.

Good Girl meets Bad Boy is dangerous, tender, and filled with story possibilities.

It is implied that Plato is in love with Jim, but in 1955, films were meticulous about pushing the envelope much further than an implication when it came to homosexuality.

Rumors ran rampant that Dean and director Ray had a torrid love affair off-screen.

Another positive is that the film is told within twenty-four hours, providing excellent pacing and an action-packed emotional punch.

The best scenes occur at night, especially the deadly car race, and the fantastic conclusion takes place in the old, deserted mansion that the trio of friends claims as their sanctuary.

The tragic ending is sure to bring a tear or two to anyone who watches and is entranced by the event’s decisive finality.

Watching the film today, one must appreciate the enormous influence Rebel Without a Cause has had.

Some classics that succeeded Rebel and stand out on their own include American Graffiti (1973), The Breakfast Club (1985), and even West Side Story (1961), which also starred Natalie Wood.

Each is riddled with teenage angst, hormones, and elevated emotions, and all contain a seriousness and a depth all their own.

Rebel Without a Cause (1955) is a film that should be viewed and revisited for more than just the prominent and impressive story it tells.

The film is well directed and speaks to a generation of unruly, angry teenagers, giving them a much-needed voice. It is fraught with emotion and balance, offering current and future generations of teenagers lessons to learn from.

Oscar Nominations: Best Motion Picture Story, Best Supporting Actor-Sal Mineo, Best Supporting Actress-Natalie Wood

Golden Globe Nominations: 1 win-New Star of the Year-Actress-Natalie Wood (won)

1971 Films, Coming-of-Age, Drama, Top 250 Films

The Last Picture Show-1971

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The Last Picture Show-1971

Director Peter Bogdanovich

Starring Timothy Bottoms, Jeff Bridges, Cybill Shepherd

Top 250 Films #121

Scott’s Review #1,349

Reviewed March 9, 2023

Grade: A

1971 was a great year in American cinema, from The French Connection to Willy Wonka and the Chocolate Factory to Fiddler on the Roof to Dirty Harry.

The list goes on and on.

The brilliantly filmed and directed The Last Picture Show is easily ensconced in the year’s top ten, featuring an embarrassment of riches across the board.

One key strength is its successful use of the dusty setting and time, the film’s secret sauce.

Peter Bogdanovich crafts a dreary coming-of-age tale set in landlocked Texas. The film is loosely based on a 1966 novel of the same name written by Larry McMurtry.

The film includes many songs by Hank Williams Sr. and other country & Western and 1950s popular music recording artists to reflect the era.

Most of the townsfolk are bored to tears in the windswept hamlet of Anarene, Texas. Their saving grace is a local cinema (the picture show) run by the popular Sam the Lion (Ben Johnson), which is about to close its doors forever.

Others frequent the café run by sultry waitress Genevieve (Eileen Brennan), who knows everyone’s business.

Gossip and scandal run wild throughout town, following several main characters through their trials and tribulations.

High school students Sonny (Timothy Bottoms) and Duane (Jeff Bridges) lust after flirty Jacy Farrow (Cybill Shepherd) while trying to figure out their futures.

Sonny also finds time for an affair with depressed housewife Ruth Popper (Cloris Leachman), twenty years his senior, who is married to the school gym teacher, Coach Popper (Bill Thurman), who may be gay.

The year is 1951, when the Korean War is raging, and the once-prosperous oil town is in significant decline.

Bogdanovich’s apt black-and-white camerawork is central to the film and the winning recipe (well, one of them).

If The Last Picture Show were shot in color or, worse yet, colorized, it would undermine the film’s sad mood.

The exterior scenes involve swirling dust and wide-angle shots of the main street, often enough to relay a comparison to a ghost town, especially as events go along.

Some sequences also feature vehicles or highway scenes, evoking thoughts of escape or departure.

The other key ingredient is the ensemble of characters led by exceptional acting. Sonny is the handsome lead character with a lifetime ahead of him and the kindest of all the players.

His all-American good looks infuse the character with vulnerability, especially in scenes with his mentor, Sam, and his friend, Billy.

Other quiet scenes reveal much about the supporting characters.

Ruth sadly hangs the wash on her clothesline, looking worn and weary, while Genevieve grills a cheeseburger in the café, cigarette dangling and her once youthful aspirations slipping away.

Leachman and Johnson, both Academy Award winners in the supporting categories, deserve their awards. They portray their anger quietly, and both have dignity and self-worth, making their characters complex and revered.

The heartiest scenes belong to the younger set as they deal with simmering sexuality and hopes for college. Jacy experiments with sex, even sleeping with the man who her mother Lois (Burstyn) is having an affair with.

Shepherd also presents Jacy as vulnerable as she awkwardly strips off her clothes during a pool party, encouraged by a handsome boy she hopes to impress.

At times, she is childish, other times a selfish bitch. The film mentions that her family is wealthy, so it’s assumed she is spoiled.

The 1950s usually provide a level of nostalgia and good, old-fashioned, carefree Americana.

The Last Picture Show (1971), thanks to the flawless direction and screenwriting of Bogdanovich and McMurtry, instead paints a perfect portrait of misspent youth and shattered dreams.

Oscar Nominations: 2 wins-Best Picture, Best Director-Peter Bogdanovich, Best Supporting Actor-Ben Johnson (won), Jeff Bridges, Best Supporting Actress-Cloris Leachman (won), Ellen Burstyn, Best Screenplay-Based on Material from Another Medium, Best Cinematography

Golden Globe Nominations: 1 win-Best Picture-Drama, Best Director-Peter Bogdanovich, Best Supporting Actor-Ben Johnson (won), Best Supporting Actress-Ellen Burstyn, Cloris Leachman, Best Screenplay, New Star of the Year-Actress-Cybill Shepherd

1942 Films, Animated, Coming-of-Age, Disney, Drama, Favorite Film of the Year, Kids, Top 250 Films

Bambi-1942

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Bambi-1942

Director David Hand

Starring Various voices

Top 250 Films #129

Scott’s Review #556

Reviewed December 22, 2016

Grade: A

Bambi (1942) is one of my favorite classic Disney animated features. It is simply a lovely, endearing, and heartbreaking tale.

Gorgeous and flawless, the film conveys a clear message about animals yearning for peace in a world where hunters seek to disturb and kill the graceful deer.

After all these years, this message still resonates loud and clear, sad, heartbreakingly. All deer hunters should watch this film and dare to take a shot.

Bambi was released during the Golden Age of Disney films, which was led by notable films such as Snow White, Dumbo, and Pinocchio, among others.

We first meet baby Bambi as his dear mother nurtures and nestles him, fawning over him with pride and teaching him the joys of the forest. Bambi’s father is the Great Prince of the Forest- protector of all the creatures of the land.

Bambi’s mother (unnamed) warns an exuberant Bambi to be cautious of the gorgeous yet dangerous meadows, where the deer are vulnerable and unprotected.

During the film’s famous gut-wrenching scene, tragedy occurs, and violence disrupts the peaceful forest, leaving Bambi alone, lost, and devastated, forced into a cruel world of tragedy, realism, and responsibility.

The scene gets to me every time, as we see the pain and harshness of life for the sweet deer, to say nothing of the other animals in the forest —namely, Thumper (a rabbit) and Flower (a young Skunk).

These characters are Bambi’s best friends. The dripping teardrop that oozes from Bambi’s eye can never be forgotten.

To counterbalance the film’s darkness, Disney successfully incorporates cheerful scenes of the animals dancing and interacting with each other as a unified community.

This is nice, as it shows the power and bond between the creatures – they are united as a family and take care of one another. I love this message, especially as young people will watch the film for the first time.

There is also a sweet romance offered between Bambi and Faline.

Watching the film and listening to the musical score is a way to experience sheer beauty. The music makes the film powerful- its classical and operatic elements are gorgeous and will elicit emotions.

Visually, each frame is a drawing set against a still, and it is magical to watch and marvel at the amount of work that undoubtedly went into this preparation.

In the end, the circle of life comes full circle. Bambi becomes the Great Prince of the Forest, replacing his father as the protector. Now, all grown up with two tiny babies of his own, he must protect his family and friends.

Life goes on. This is a sad yet realistic message. How brave Disney was in creating a masterpiece like Bambi.

Personal satisfaction is observing my beloved female feline friend, Thora, become mesmerized and attentive to the film each time I watch it.

Disney’s Bambi is a wonderful, cherished treasure that evokes emotions and conveys a valuable, poignant message. It is a timeless masterpiece to be enjoyed for generations to come.

One will not escape the film with dry eyes, a testament to the marvelous filmmaking involved.

Oscar Nominations: Best Scoring of a Dramatic or Comedy Picture, Best Original Song-“Love Is a Song”, Best Sound Recording

1986 Films, Comedy, Coming-of-Age

Ferris Bueller’s Day Off-1986

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Ferris Bueller’s Day Off-1986

Director John Hughes

Starring Matthew Broderick

Scott’s Review #1,396

Reviewed September 7, 2023

Grade: B

Ferris Bueller’s Day Off (1986) is one of the best-known films in John Hughes’s 1980s teen coming-of-age comedy collection.

On par with The Breakfast Club (1985) and Pretty in Pink (1986) in name recognition memory banks, especially for teenagers growing up in this decade.

Iconic moments like Ben Stein’s teacher’s monotone attendance roll call, the repeated phrase ‘Bueller’, and the term ‘Save Ferris’, which became the name of an alternative rock band, are legendary.

The film has its creative moments, and Matthew Broderick’s portrayal of the title character is charming and star-making.

Watching the film decades later, though, the slapstick feels overwhelming compared to the drama, and there isn’t much angst like in other Hughes films.

There isn’t much deeper meaning beyond skipping school for a day and going on an adventure.

This makes Ferris Bueller’s Day Off fun and lighthearted, but sillier than more mature Hughes films. The film is about being young, free, and having fun, but not much more, and the hijinks between the students and the authority figures sometimes feel tired.

Ferris Bueller (Broderick) is brilliant at skipping school and getting away with it despite being an intelligent student. He causes the high school principal, Rooney (Jeffrey Jones), much irritation and ultimately pursues him to catch Ferris in the act.

The young man plans one final outing before graduation with his best pal Cameron (Alan Ruck) and his girlfriend Sloane (Mia Sara).  They ‘borrow’ Cam’s father’s expensive Ferrari and journey through the streets of Chicago.

Ferris’s sister, Jeanie (Jennifer Grey), seethes with rage at her brother’s antics while their successful but dimwitted parents, Katie (Cindy Pickett) and Tom (Lyman Ward), remain clueless.

The film’s strengths are its frequent shots of Chicago and Broderick himself, which keep it from feeling like a mediocre relic decades after its release.

Broderick followed in the footsteps of contemporaries like Michael J. Fox and Emilio Estevez as the cool, likable all-American boy next door.

His performance makes the film better than it might have been, and it’s fun to watch him outwit rivals like the principal and other villains he encounters.

Hughes creates a nice ‘day in the life’ style that follows the characters from early morning until evening, which keeps the events contained well.

A high point of the film, and where it picks up steam, comes when the gang reaches Chicago. We suspect the teenagers, while they skip school with fibs, a just suffering from ‘senioritis’ and are otherwise superior students.

This is confirmed by the sophisticated and intellectually stimulating places they visit.

They have lunch at a swanky French restaurant and visit the world-renowned Art Institute of Chicago for good old-fashioned culture. Not to appear too snobby, they hobnob with blue-collar folks at an afternoon Cubs baseball game.

What feels dated about Ferris Bueller’s Day Off is the ditziness of Ferris’s parents. The teen easily bamboozles his parents with a feigned illness, and when his father spots Ferris in a nearby taxi, he shrugs it off as his imagination.

The most laughable example of the parents’ cluelessness is when mom Katie, in the passenger seat, doesn’t seem to notice her son running in front of their car when sister Jeanie slams on the brakes. She instead scolds Jeanie for driving recklessly.

These and other setups involving the over-the-top principal feel more like clichés than genuine laugh-out-loud moments. But this was common in 1980s comedies.

Ferris Bueller’s Day Off (1986) feels fresh in some parts but dated in others, making the experience humorous but hardly legendary.

Whereas The Breakfast Club holds up very well, this film doesn’t.

Golden Globe Nominations: Best Actor-Comedy or Musical- Matthew Broderick

1961 Films, Coming-of-Age, Drama

Splendor in the Grass-1961

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Splendor in the Grass-1961

Director Elia Kazan

Starring Natalie Wood, Warren Beatty

Scott’s Review #1,231

LEAD Technologies Inc. V1.01 Sized3000

Reviewed February 20, 2022

Grade: A-

Splendor in the Grass (1961) is mainly a film about teenage angst, but that angst spills over into the adults as pressure is heaped on many characters.

Fortunes are gained and lost following the Wall Street Crash of 1929, which left some characters obsessed with money while the teenage characters grappled with their emotions.

It offers poetic relics and references from the English poet William Wordsworth about life and the longing for love that can be reflected on.

The film was written by William Inge, who also wrote 1955’s Picnic, and directed by Elia Kazan, famous for A Streetcar Named Desire (1951) and On the Waterfront (1954).

Splendor in the Grass is an uneasy watch, but it offers glimpses of the brilliance of those other films. Isn’t the point of a superior movie to make us think and ponder?

At the risk of sounding a tad dated some sixty years later, how powerful a film must have been in 1961, sending shock waves through audiences expecting a more wholesome show.

It’s also legendary Hollywood actor Warren Beatty’s debut, showcasing an emotionally superb performance by Natalie Wood.

Bud Stamper (Warren Beatty) and his high school sweetheart, Deanie Loomis (Natalie Wood), have an innocently blossoming relationship if only they could be left alone.

Their parents’ mutual oppressiveness weighs it down.

Bud’s father, Ace (a terrific Pat Hingle), is hell-bent on Bud attending Yale University in the fall. He is afraid Deanie will become pregnant, ruining the bright future he expects from the affluent young man.

Deanie’s mother (Audrey Christie) cautions her daughter from engaging in sexual relations and remaining a ‘good girl’ because she is frightened of Bud not marrying a girl with questionable morals.

Both parents’ meddling causes the teens emotional pressure and threatens to ruin their relationship and, perhaps, their futures. Bud’s mother is complacent, and Deanie’s father offers his daughter proper support.

There is a lot of story going on in Splendor in the Grass, and all of it is juicy and relevant from the perspective of whoever the viewer takes.

This is part of the beauty of the film- told through the eyes of Bud and Deanie and the fragile feelings teenagers possess; their parents can be dissected as well, and they want the very best for their kids.

The romance is not just about Bud and Deanie. Other players and potential love interests are introduced, and we wonder if Bud and Deanie will ride off into the sunset together.

Inge and Kazan pose several questions to us. Do people who belong together make it? Do some people settle for different lives based on sacrifice? Can heartbreak lead to madness and a different perspective for some?

The terrific screenplay written by Inge is the film’s sweet spot. It’s complex and fraught with emotion and questions.

The setting of remote Kansas in the late 1920s gave me a feeling of stifling predictability and one’s life already planned for them rather than encouragement to reach for the stars.

This is dangerous territory in itself.

Bud is expected to get an education but wants to live on a simple ranch and be a family man. Deanie is trained to be sweet and kind and to resist the pleasures of the flesh like her mother did, but is that enough for her?

Kazan, a master of brutal yet realistic films, brings excellent writing to life. Based on his other films, I knew I was not in for a cheery experience but rather a harsh reality. That sits well with me, as films that make one think are celebrated.

Splendor in the Grass (1961) resembles Rebel Without a Cause (1955) and stars Wood.

The film teaches me that although generations come and go, the feelings and emotions young people experience in their youth never change.

Oscar Nominations: 1 win-Best Actress-Natalie Wood, Best Original Screenplay (won)

Golden Globe Nominations: 1 win-Best Motion Picture-Drama, Best Performance by an Actor in a Motion Picture-Drama-Warren Beatty, Best Performance by an Actress in a Motion Picture-Drama-Natalie Wood, New Star of the Year-Actor-Warren Beatty (won)

2021 Films, Black & White, Coming-of-Age, Drama

Belfast-2021

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Belfast-2021

Director Kenneth Branagh

Starring Jamie Dornan, Caitríona Balfe, Jude Hill

Scott’s Review #1,202

Reviewed November 28, 2021

Grade: A-

Belfast (2021) is a film I wanted to see based solely on the year-end awards buzz it is receiving as of this writing.

The trailer would lead you to believe that the film is a sentimental and heartwarming journey through the lives of a group of people living in Belfast, Ireland.

This is nothing but strategic marketing.

The film is significantly better than the trailer suggests, offering a dark and raw exploration of a family torn between their current lives in Belfast and the opportunity to leave the troubled city for new prospects in England.

However, it’s not all doom and gloom, and in fact, Belfast offers enough humor, entertainment, and drama to please a broad audience. There also exists a lesson in kindness, decency, and respect that is so needed in the world today.

Belfast is a movie rich in real-life experiences from director Kenneth Branagh’s own life, which successfully lends realism and honesty to the picture.

The film is told through the eyes of a nine-year-old boy named Buddy, wonderfully played by Jude Hill. He struggles to forge a path from childhood to manhood in a world that has been turned upside down.

It is 1969, and battles over religion have overtaken his neighborhood with radical Protestants wanting the Catholics out.

Buddy experiences the joys and sorrows of young love, loss, joy, laughter, music, and the magic of the cinema.

His family surrounds him- Ma (Caitríona Balfe), Pa (Jamie Dornan), Granny (Judi Dench), Pop (Ciarán Hinds), and a brother. They each fill Buddy’s life with kindness and fun.

The film starts slowly for me, despite an immediate, wonderfully compelling slow-motion sequence in which Buddy is surrounded by violence and terror as he walks home from school on a pleasant afternoon.

As I ponder Belfast, I realize that much of the film is slow, yet rich in texture and goodness. Every so often, an emotional scene erupts, but then a great deal of it is Buddy’s everyday experiences.

The black-and-white cinematography is crucial in portraying the bleakness of Belfast and how its residents strive to add some life. Most are born and die where they live.

Branagh adds an occasional glimpse of color, which is effective in showing a burst of delight in the characters’ lives. This is most powerful when the family goes to the cinema and enjoys an afternoon watching Chitty Chitty Bang Bang.

The lighting and extreme close-ups of some characters’ faces reveal their emotions, while the landscape shots are appropriately smoky and bright. This fits the mood perfectly.

The film features music by Belfast native Van Morrison, including eight classic songs and a new song Morrison wrote for the film.

The acting is superb by all the principal cast, and Dornan and Balfe provide the emotional core. Both actors are beautiful, and their performance of ‘Everlasting Love’ is simply delightful.

Providing proper role models for their children, Dornan’s Pa nearly had me in tears when he told Buddy that a person’s religious beliefs are unimportant, but their kindness is what truly matters.

He is a progressive man trapped in a traditional world.

In the end, the family chooses to reach for the stars, and the moment is fulfilling for both the characters and the viewers.

Belfast (2021) did not completely win me over until it ended, when I realized that I had witnessed a superior film. Branagh fuses heart and decency into a tale of a family’s struggles and trials.

It’s a message film that doesn’t scream or preach that message, but instead gives a quiet lesson in humanity.

Oscar Nominations: 1 win-Best Picture, Best Director-Kenneth Branagh, Best Supporting Actor-Ciarán Hinds, Best Supporting Actress-Judi Dench, Best Original Screenplay (won), Best Original Score-“Down to Joy”, Best Sound

2002 Films, Comedy, Coming-of-Age, Independent, Independent Comedy, Independent Romantic Comedy, New York City, Romantic Comedy, Thanksgiving

Tadpole-2002

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Tadpole-2002

Director Gary Winick

Starring Aaron Stanford

Scott’s Review #1,125

Reviewed March 23, 2021

Grade: B

Tadpole (2002) is an enjoyable coming-of-age effort that carefully, or too carefully, toes the line between being cute and exploring some morally questionable material.

The film gets away with the naughty subject matter because there exists a wholesomeness that lands somewhere between fresh and a commodity.

It’s a fun romp, but nothing memorable either, borrowing from better films.

Aaron Stanford, the lead actor, makes the film better than it might have been and seamlessly matches wits and comic timing with heavyweight actors like Sigourney Weaver, John Ritter, and Bebe Neuwirth.

He is charming, just like his character, and carries the film.

Oscar Grubman (what a name!) is compassionate and sophisticated, reciting Voltaire and speaking fluent French.

When he arrives home for Thanksgiving weekend, it is revealed that he has a major crush on his stepmother, Eve (Weaver).

She and Oscar’s father, Stanley (Ritter) share a ritzy Manhattan apartment and entertain a girl they think would be perfect for Oscar but he only has eyes for Eve and rebuffs the poor girl.

Despondent at not having a chance with his stepmom but desiring her, Oscar visits a local bar and runs into Eve’s best friend, Diane (Neuwirth).

He gets drunk, and she takes him home, winding up in bed together! Oscar is filled with remorse.

Oscar’s and Diane’s tryst is the caveat for the rest of the antics of the film. Oscar is terrified that Diane will tell his father and Eve, especially as she is on the guest list for dinner the next night!

An amusing game of footsie under the table ensues between Oscar and Diane.

Diane is a Mrs. Robinson-type character to Oscar’s Benjamin if we want to draw comparisons to The Graduate (1967), and how could we not? Eve is like Elaine, Mrs. Robinson’s daughter.

Unsuspecting and slightly naive. It’s fun to reminisce about the classic film that director Gary Winick borrows from.

Speaking of Winick, he has a knack for creating coming-of-age stories featuring teenage characters with light angst, and he commonly releases independent films.

My hunch is that if Tadpole were a big-budget mainstream affair, even more concessions might have been made for the brewing May/December romance.

The “dinner scene” is the best part of Tadpole, providing strong physical comedy and a hilarious setup. It’s a stretch in plausibility and borrows from many slapstick comedies, but somehow the scene works well and stands out.

The subject matter of a woman three times the age of Oscar is not as harsh as it sounds and is largely played for laughs and misunderstandings. This is where the film misses the mark and stays firmly in the safe lane.

Imagine the juicy possibilities that would occur if Eve reciprocated Oscar’s advances. Now that is an interesting concept!

I shudder to think that if Oscar were a fifteen-year-old girl and Eve a forty-something-year-old man, this film would never have been made.

The double standard gnawed at me.

The ending is wholesome and predictable, making the film satisfying for the character yet limiting for the viewer. Oscar more or less “snaps out of it” and realizes that girls his age are okay after all.

I half-wondered whether the film would be revealed to have been all Oscar’s dream.

The cougar-esque subject matter provides light entertainment, never daring to go as far as it could have, or should have.

In the end, we understand a young, pubescent boy’s dreams and desires and may fondly recall when we were his age and all the troublesome sexual feelings that bubbled under the surface.

Tadpole (2002) is a watchable independent comedy with enough to digest, thanks to its worthy cast.

2007 Films, Coming-of-Age, Drama, Independent, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films, Romantic Drama

Shelter-2007

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Shelter-2007

Director Jonah Markowitz

Starring Trevor Wright, Brad Rowe

Scott’s Review #758

Reviewed May 16, 2018

Grade: B+

By the mid-2000s, independent LGBT films were coming fast and furious as the genre was still relatively new and ripe for the picking with good ideas.

With Shelter (2007), we have a sweet film that focuses on the new romance between two young men, one of whom is coming to terms with his sexuality.

The lead characters are not gay stereotypes and could easily pass for straight men, a characteristic impressive in LGBT films- and other mainstream films for that matter.

Rather than focusing on the discrimination the characters may face or on obstacles from other characters (family and friends), the film wisely makes the story a character study of the demons one man wrestles with while “coming out”.

The small film is written intelligently, save for one supporting character’s plot-driven decision.

Also, in the modern age, we are beginning to see a bevy of similarly themed films emerge from the LGBT community, and Shelter offers nothing we have not seen before.

Set in sunny southern California, our main protagonist is Zach (Trevor Wright), an aspiring artist in his early twenties.

The ultimate “good guy,” he is popular with friends and girls and frequently babysits his five-year-old nephew Cody while his sister parties and has one-night stands.

When Zach meets his best friend’s older brother, Shaun (Brad Rowe), the pair fall in love as Zach wrestles with his sexuality and conflicts with his plans.

Zach’s sexual and family struggles are the main themes of the film.

Shelter (not sure I get the title’s meaning) is a solid slice-of-life story.

Zach initially dates a pretty girl, Tori, who is blonde, wholesome, and a girl-next-door type. This is done intentionally to show that Tori is a girl any young straight man would be interested in.

We never see Zach show interest in any men other than Shaun, so the film leans towards a solid romantic drama once the fellas get together.

Still, we see Zach’s internal struggles and his acceptance of himself for who he is play out.

Actor Wright and director Jonah Markowitz capture this successfully.

Shaun, arguably second fiddle to Zach, is a character that I feel is very well written. Avoiding negative stereotypes, Shaun is handsome, masculine, and charismatic.

Completely confident and exuding great poise, he is a character that any gay male should look up to. He is openly gay yet “one of the guys” as he should be.

He immediately connects with Cody, becoming a father or a cool surrogate-uncle figure for the lad. A quick concern of Zach’s sister, Jeanne, about having the boy around a gay man is trivialized in a quick form.

Another positive aspect of the film is the multiple scenes that show Zach, Shaun, and Cody as a happy family, and how normal that is. Examples of this are frolicking around the beach, playing football, or engaging in horseplay.

A quiet dinner of barbecue steaks and red wine for the men and macaroni and cheese for Cody elicits images of a connected family unit, despite some in society still poo-pooing this idea.

The film presents the connectivity as normal.

A tiny flaw in the character of Jeanne shows her willingness (almost eagerness) to leave Cody (and her ailing father) behind when she decides to take off to Oregon with her brand new boyfriend. This point seems rushed and out of character.

While a party girl with a crappy job at a grocery store, Jeanne exhibited heart and was portrayed as sympathetic and caring throughout the film. Surprisingly and unrealistically to me is that she would give up her life.

A paltry excuse of “Oregon not allowing kids” was left unclear and unexplained.

A part coming-of-age story, part coming-out story, Shelter (2007) is an example of a little film that could with an appreciation of independent cinema.

The film tells a nice story about one man’s journey of self-discovery and the people he surrounds himself with. With impressive California oceanfront and working-class principles as a backdrop, the film has a calming texture and weaves a solid viewing experience.

1986 Films, Adventure, Coming-of-Age, Drama, Labor Day

Stand By Me-1986

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Stand By Me-1986

Director Rob Reiner

Starring Wil Wheaton

Scott’s Review #752

Reviewed May 2, 2018

Grade: A

Stand by Me (1986) is a sweet, coming-of-age story that every male (or female, for that matter) who grew up in small-town America will undoubtedly relate to.

Set mostly outdoors in the remote Pacific Northwest, the film shows the deep bonds of friendship as four youths set out on a journey of discovery over a Labor Day weekend.

In 1986, I could relate to the film, and today, Stand By Me still holds up well.

Stephen King, a tremendous author known mostly for horror novels, wrote a short story titled “The Body” in 1982. Stand By Me is based on this story.

Instead of traditional horror, however, the story is more of a straight-up adventure, though in pure King style- a dead body is front and center (naturally).

Rob Reiner directed Stand by Me, and its success led to other mainstream achievements for Reiner (1989’s When Harry Met Sally and 1990’s Misery, also a King novel).

Ben E. King’s legendary theme song plays over the closing credits and became a smash hit again in 1986.

The film starts intriguingly as the main character, Gordie, as an adult, learns that his childhood friend Chris Chambers has tragically been stabbed to death.

Gordie then narrates a flashback to the summer of 1959, when he and three other boys embarked on a childhood adventure on Labor Day weekend.

Along with Gordie (Wil Wheaton), we meet Chris (River Phoenix), a rebellious boy with a troubled home life, Teddy (Corey Feldman), who is scarred as a result of being burned by his mentally ill father, and Vern (Jerry O’Connell), an overweight kid insecure about his looks.

The wonderful aspect of Stand by Me is that each of the four central characters is flawed, whether physically or by some other insecurity, giving each character depth.

Each character is highly empathetic to an audience member who may see themselves in them.

This point carries through the entire film. Through conversational scenes with one another, each weakness is exposed and dissected- Teddy becomes vulnerable about his relationship with his father when a character refers to him as “loony”.

Vern’s weight bothers him, and Chris wants to be more than people expect him to be.

To avoid being weighed down by too many dramatic elements, Stand by Me incorporates much-needed humor. My favorite sequence is the delightful story in which Godie regales the other boys one night as they camp outdoors.

Town legend has it that a rotund man, who picked on a boy nicknamed “Lard-Ass,” enacts the perfect revenge on the townspeople one summer as he enters a pie-eating contest, resulting in a torrent of vomiting.

Reiner shoots this scene well and brilliantly balances the film’s differing tones, all while keeping it within a cohesive package.

The film belongs to its young actors, each of whom is cast brilliantly. Of course, Corey Feldman and River Phoenix went on to major success in the 1980s.

Phoenix, who tragically died in 1993, and Feldman, who suffered numerous setbacks in his short career, are forever youthful, with promise and poise in this film.

In Phoenix’s case, he seemed most on course for leading man status with his dashing, youthful looks and clean-cut appearance. Watching in later years, it is bittersweet to watch both actors and recollect the promise of each.

Mixing drama and comedy, and at its core a true adventure story best watched on a summer evening, Stand By Me (1985) is memorable and poignant.

Its late-summer setting, outdoor camping, and green scenery endure and stand the test of time.

Anyone who has taken a meaningful journey as a kid or made lasting memories in their youth (which should be all of us) can appreciate this timeless gem.

Oscar Nominations: Best Screenplay Based on Material from Another Medium

Golden Globe Nominations: Best Picture- Drama, Best Director-Rob Reiner

Independent Spirit Award Nominations: Best Feature, Best Director-Rob Reiner, Best Screenplay

2017 Films, Comedy, Coming-of-Age, Drama, Independent, Independent Comedy, Independent Drama

Lady Bird-2017

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Lady Bird-2017

Director Greta Gerwig

Starring Saoirse Ronan

Scott’s Review #700

Reviewed November 28, 2017

Grade: A

Lady Bird is a 2017 independent film released by actor-turned-writer/director Greta Gerwig. It is a tremendous effort in her solo directorial debut.

No stranger to the indie syndicate herself, Gerwig puts her unique stamp on the film with a rich, female-centered perspective that works quite well and seeps with charm and wit.

The story is semi-autobiographical, based on Gerwig’s life and her stormy dealings with her mother. The story is well-written, well-paced, and empathetic as the audience views a slice of life through the eyes of a restless yet kindly teenager on the cusp of womanhood.

Saoirse Ronan gives a bravura performance in the title role. Her birth name is Christine, but she defiantly changes it to Lady Bird in a show of adolescent independence, much to her parents’ (Laurie Metcalf and Tracy Letts) chagrin.

Christine lives in suburban Sacramento, California, and yearns for a more exciting life in New York City, far from what she considers Dullsville, USA. Now, in her senior year, she is attending a Catholic high school.

Christine applies to college after college, hoping to escape her daily dilemmas. Christine’s best friend Julie and somewhat boyfriend Danny (Lucas Hedges) are along for the ride.

The period is 2002- shortly after 9/11.

The brightest moments in Lady Bird are the plentiful scenes between Christine and her mother.

The chemistry between Ronan and Metcalf is terrific, and I genuinely buy them as a real mother/daughter duo, warts and all. They fight makeup, get on each other’s nerves, fight, cry, do makeup, etc.

I especially love their knock-down drag-outs, as each actress stands her ground while allowing the other room to shine—feeding off of each other.

My favorite Metcalf scene occurs while she is alone. Having gotten into a tiff with Christine and giving her the silent treatment while Christine flies to New York, Marion reconsiders as she melts into tears.

At the same time, she drives away, regretting her decision and already missing her daughter.

Metcalf fills the scene with emotional layers as she does not speak- we watch in awe as her facial expressions tell everything.

Comparably, Ronan—likely to receive her third Oscar nomination at the ripe old age of twenty-three (Atonement, 1997, and Brooklyn, 2015, are the other nods)—successfully gives a layered performance as a teenage girl struggling with her identity and restless to see different worlds and get out of what she sees as a bland city.

Of Irish descent, Ronan is remarkable in her portrayal of a California girl- sometimes selfish, sometimes sarcastic, but always likable and empathetic.

The casting from top to bottom is terrific, and the supporting players add real meat to the story. Christine’s best friend, Julie, played by up-and-coming Beanie Feldstein (Jonah Hill’s sister), is compelling as the lovable, chubby, nerdy theater geek.

Letts is perfect as Christine’s father, depressed at losing his job in the tough economy and having to compete with young talent as he sees his career slip away.

Legendary actress Lois Smith adds heart to Sister Sarah Joan’s role- a by-the-book nun who is an incredible old chick.

Finally, Hedges, seemingly in every film from 2016 to 2017, is emotionally resonant as Danny, Christine’s troubled boyfriend, struggles with his sexuality.

Gerwig does it all with this film—she directs and writes, scripting laugh-out-loud moments and eliciting heartfelt emotion from her enchanted audience.

A hilarious scene occurs as Christine attends a dreary class assembly- an anti-abortion-themed one- by a woman who almost did not exist but for her mother’s decision not to have an abortion.

When a bored Christine icily points out that had the woman’s mother had the abortion, she would not be forced to sit through the assembly, it is a laugh-out-loud moment.

Lady Bird (2017), thanks to a fantastic writer-director and superlative casting, is a film that has all the heart, emotion, humor, and great acting.

The film is intelligently written and draws the audience into its characters willingly. Gerwig carves a story, perhaps done many times before in film, but with a fresh and energetic feel.

Oscar Nominations: Best Picture, Best Director-Greta Gerwig, Best Actress-Saoirse Ronan, Best Supporting Actress-Laurie Metcalf, Best Original Screenplay

Independent Spirit Award Nominations: 1 win-Best Feature, Best Female Lead-Saoirse Ronan, Best Supporting Female-Laurie Metcalf, Best Screenplay (won)

1996 Films, British, Coming-of-Age, Drama, LGBTQ+ Drama, LGBTQ+ Films

Beautiful Thing-1996

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Beautiful Thing-1996

Director Hettie MacDonald

Starring Glen Berry, Scott Neal

Scott’s Review #675

Reviewed August 20, 2017

Grade: B

Based on the play of the same name, Beautiful Thing is a heartwarming 1996 British LGBT film written by Jonathan Harvey and directed by Hettie MacDonald.

Incorporating music from the Mamas and the Papas, and specifically Mama Cass, the film undoubtedly was groundbreaking upon release in the 1990s due to its taboo (at that time) gay romance. Still, in 2017, this film suffers a bit from both a dated feel and a play-it-safe vibe.

The action, as in a play, takes place almost entirely within a working-class London apartment building in the present.

The lead character is Jamie (Glen Berry), a high school student, intrigued by his male classmate and neighbor, Ste (Scott Neal).

He also must keep an eye on his flighty mother, Sandra, who changes boyfriends like the weather, and aspires to open her pub- she is currently dating neighbor and understanding hippie, Tony.

Ste is the other central character. Shyer than Jamie, he has a difficult upbringing, living next door to Jamie with an abusive father and brother.

Ste and Jamie eventually bond, and a secret love story begins as the young men conceal their relationship from everyone else.

In the mix is a vivacious black teenage neighbor girl, Leah, who is obsessed with Mama Cass’s records, which her grandmother owns and frequently plays. Leah and Sandra are engaged in a light feud, largely because Sandra believes Leah is a bad influence on Jamie.

Given that Beautiful Thing (1996) was made, the film deserves enormous praise for simply existing at a time when LGBT films were hardly the norm.

Watching in 2017, though, the film loses a bit compared with subsequent LGBT releases that broke more barriers in mainstream viewership and explored much darker themes (LGBT masterpieces like 2006’s Brokeback Mountain and 2016’s Moonlight immediately come to mind).

Beautiful Thing also has a safer, lighter touch than the aforementioned films, making it seem too much like fluff now.

Director MacDonald mixes in humor so that, while the message of a same-sex relationship is important, it is softened a bit by the comedy.

Specifically, the sidekick, Leah, lightens the message.

The supporting characters may get a bit too much screen time. Sandra’s giggle-worthy job interview, her attempts to do “respectable work” in an office environment, or her man-hungry escapades take away from the main story.

I also never felt any real threats or danger to the same-sex relationship. Sure, there is some brief disapproval, and a quick mention of Jamie not liking football (a negative gay stereotype that is unnecessary), combined with Ste’s abuse at the hands of his family, but even that is not perceived as a major obstacle to their, at that time anyway, shocking relationship.

On the other hand, the chemistry between the two leads (Berry and Neal) is wonderful and the best aspect of the film.

Both actors convey the emotions of the characters perfectly- both coming into their sexuality, Berry’s Jamie is the more confident one, asking Neal’s Ste, in a sweet scene, whether he has ever been kissed.

This leads to a sleepover that is innocent and tender rather than steamy or sexual. I completely buy the characters as young lovers, coming to terms with their own identities while supporting each other’s needs and becoming a good team.

The final scene, naturally accompanied by a Cass Elliot song “Dream A Little Dream Of Me”, is a touching, wonderful scene. Jamie and Ste dance together in broad daylight, for their entire complex to see, and subsequently are circled by both supporters and the curious.

As a show of support, Sandra and Leah join the boys and end their dispute.

Beautiful Thing (1996) offers a heartwarming conclusion to a fine, yet lightweight by modern standards, LGBT romantic film.

2016 Films, Coming-of-Age, Drama, Independent, Independent Drama, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Los Angeles

Spa Night-2016

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Spa Night-2016

Director Andrew Ahn

Starring Joe Seo

Scott’s Review #645

Reviewed May 19, 2017

Grade: B+

On the surface, Spa Night (2016) may seem like a straight-ahead independent LGBTQ-themed film (of which, in recent years, there has been no shortage), but the film’s plot is twofold.

Sure, it tells the coming-of-age story of a young man’s sexuality.

Still, Spa Night is also a story about the boy’s Korean parents’ financial struggles and their desire to raise a successful son, even at the expense a their own happiness.

The film’s tone is very subtle, and the action moves slowly, but it is a sweet and relevant story.

David Cho is a shy Korean-American high school student on the cusp of going to college. His parents (who only speak Korean) have sadly recently lost their take-out restaurant in Los Angeles.

The parents struggle to make ends meet (she by waitressing, he by doing odd moving jobs), while David takes SAT classes to ensure he gets into a great college.

David is also struggling with his sexuality and one-night visits to a local male spa with drunken friends.

He gets a job there and begins to experience male-on-male shenanigans taking place on the sly in the spa, all the while developing his blossoming sexual feelings.

David’s development in the story is key- he is resistant to coming out as gay because his parents are traditionally Korean, constantly mentioning David finding a girlfriend and succeeding in school, becoming what they have failed to achieve.

When, at one point, he fools around with another male in the spa, David insists on a no-kissing policy.

This reveals to the audience that he has issues with intimacy with another male, and in one compelling scene, some self-loathing occurs.

When he stares too long at a buddy in the bathroom while both are inebriated, the friend notices and becomes distant toward David.

The film is enjoyable because it tells two stories rather than one, which helps it succeed. We also care greatly about David’s parents, who are compassionately portrayed rather than the stereotypical “tiger mom” and rigid father.

Wanting only the best for him and having no clue about his sexuality struggles, they trudge along with their issues. The father drinks too much, and the parents frequently squabble.

This is a clue to the film because it explains why David hesitates to mention anything to them, even though he is close to his parents.

I also enjoyed the slice-of-life and coming-of-age appeal that the film possesses.

Several shots of day-to-day life in Los Angeles are shown, mainly as characters go about their daily routines.

The budget allotted for Spa Night must have certainly been minimal. Still, the lesson learned is that some fantastic films are made for minuscule money, but as long as the characters are rich and the story humanistic, the film succeeds- this is the case in Spa Night.

Almost every character is of Asian descent- I am guessing all Korean actors. This is another positive I give to Spa Night.

In the cinematic world, where other cultures and races are woefully underutilized or still stereotypically portrayed, how refreshing is it that Spa Night breaks some new ground with an LGBTQ-centered film with Korean characters?

Spa Night has deservedly crowned the coveted John Cassavetes Award at the 2016 Independent Spirit Awards (for films made for under $500,000), and director Andrew Ahn is undoubtedly a talented novice director to be on the watch for.

He seems destined to tell good, interesting stories about people.

Independent Spirit Award Nominations: 1 win-John Cassavetes Award (won), Acura Someone to Watch Award

2010 Films, Comedy, Coming-of-Age, Drama, Independent, Independent Comedy, Independent Drama, LGBTQ+ Comedy, LGBTQ+ Films, New York City

BearCity-2010

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BearCity-2010

Director Doug Langway

Starring Joe Conti

Scott’s Review #626

Reviewed March 19, 2017

Grade: B

BearCity is a small, independent, LGBT, coming-of-age film that tells of a young man living in New York City and his exploration of a sub-culture within the LGBT community and the subsequent romance that follows.

The film is a comedy and has a “Sex in the City” or “Queer as Folk” approach to its storytelling- a group of close-knit friends and raunchy and gratuitous, to be sure.

The budget is very small, and some aspects are rather amateurish, but the film is enjoyable, especially for those exposed to the LGBT lifestyle.

The film is not heavy nor are any of the characters dealing with “coming out” issues, but rather it is a fun sex comedy romp.

Our central character, Tyler (Joe Conti), is a young man in his twenties, an aspiring actor, who moves to New York City to pursue his career, with a mind for casual dating.

His roommates encourage him to date Abercrombie and Fitch types, but Tyler comes to realize he prefers “bear” types- mature, hairy men.

On the sly, he begins to pursue this subculture and makes many friends. The apple of his eye, handsome Roger (Gerald McCullough), is a popular mature man, distinguished in the bear circle, and risks his reputation with “the bears” by falling in love with Tyler.

The two men spend the greater part of the film conquering their respective fears and finding their way into each other’s arms in a predictable ending.

BearCity is a fun farce and nothing very heavy, and the feature of a strong circle of friends is a nice, positive portrayal. All of the friends connect well and stick by each other through thick and thin.

Comical sub-plots abound, such as one couple (Brent and Fred) awkwardly parlay into the world of threesomes with unsuccessful results.

Another bear who is unemployed and grossly obese decides to undergo weight loss surgery, much to the chagrin of his hunky boyfriend.

The main story, though, belongs to Tyler and Roger, and their inevitable reunion can be seen miles away.

The film throws various hurdles in their ways, such as a third-person briefly dating Roger, or Roger’s commitment issues, but the climax of the film will be no surprise to anyone.

Tyler and Roger make a nice couple as a whole, but perplexing is how the film makes Roger the undisputed leader of the bear group when he is a lean, muscular man- not a “bear” at all!

This is odd to me, but BearCity is so light-hearted that I suppose I can let this detail slide in favor of a good romance.

Critically, the film is nice but quite amateurish, and super low-budget. The acting, especially by some of the supporting characters (the pre-surgery guy’s boyfriend is the most glaring example), is not great.

I half-expected him to look at the camera accidentally.

Additionally, the film has a low-budget look and feel, which on one level is fine, but combined with the not-so-stellar acting, enhances the inexperience of the cast and crew.

The film is tough to take seriously, if that is even the filmmakers’ intention.

The film is a logistical treat for anyone privy to popular gay hangouts in New York City- specifically The Eagle and The Ramrod; both locales are featured prominently, and the use of many real-life people who hang out at those establishments is used throughout the production.

BearCity (2010) is not a bad experience, and a film that is light and comical within the LGBT community seems rather fresh compared to the myriad of dramatic and heavy films that exist.

At the same time, the film teeters too much towards goofy, with more than one silly, sex-crazed, stereotypical gay man, so it almost gives a bad impression, and the film has mixed results for me.

2015 Films, Comedy, Coming-of-Age, Drama, Independent, Independent Comedy, Independent Drama, San Francisco

The Diary of a Teenage Girl-2015

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The Diary of a Teenage Girl-2015

Director Marielle Heller

Starring Bel Powley

Scott’s Review #614

Reviewed February 2, 2017

Grade: A-

I wasn’t sure what to expect from the Independent Spirit Award-winning film, Diary of a Teenage Girl (2015).

I expected a light-hearted, well-written coming-of-age story, but the film is much darker than I thought, and that is a plus.

The film is edgy.

The central characters have so much depth, and newcomer Bel Powley delivers an incredibly complex performance in the title role.

Stars Kristen Wiig and Alexander Skarsgard also give tremendous performances.

The film is based on Phoebe Gloeckner’s graphic novel The Diary of a Teenage Girl: An Account in Words and Pictures.

Set in 1976 in San Francisco, a time filled with hippies, drugs, music, and life, fifteen-year-old Minnie, an aspiring comic book writer, is as insecure as any typical fifteen-year-old is.

With wide eyes and stringy hair, she is cute but rather quirky-looking, not the prettiest girl in her class, and records her deepest thoughts into a cassette recorder.

Minnie is intelligent and worldly, accepting of alternative lifestyles and drugs. She is wise well beyond her years.

Minnie’s mother, Charlotte (Wiig), lives a bohemian lifestyle, constantly partying and losing jobs, and is divorced from Minnie’s and sister Gretel’s affluent, but mostly absent father, Pascal (Christopher Meloni).

The girls call him “Pascal” instead of “Dad,” which he hates. Determined to lose her virginity, Minnie is man crazy and develops a sweet relationship with her mother’s boyfriend, Monroe (Skarsgard).

Things begin slowly but develop into a full-blown sexual relationship.

A controversial part of the story is that Monroe is thirty-five years old, and Minnie is only fifteen. Both Monroe and Minnie have their feelings challenged by the circumstances, and Minnie’s emotions spiral out of control.

The subject matter of The Diary of a Teenage Girl will undoubtedly be off-putting for many folks, as the actions are technically statutory rape.

The film never goes in that direction.

Rather, director Marielle Heller crafts a tender story of young love, and when there is too much drama, comic relief is added.

Monroe is never the aggressor, and Minnie is. She is a young girl who knows what she wants.

Since the director is female, there is no hint of Minnie being taken advantage of or regretting her affair- the film is not about this.

Rather, it is about a young girl with blooming sexuality and emotions finding herself in the world. I admire this left-of-center approach immensely.

Other aspects of the film may be too much for some. Minnie and her best friend pretend to be prostitutes and orally service two young men in the men’s room on a lark.

Later, Charlotte uses filthy language to describe Monroe’s and Minnie’s relationship.

The film isn’t safe, but it’s daring and honest. I admire its courage.

Enough cannot be said for the three principal actors in Diary of a Teenage Girl. Bel Powley is a find!

Nominated for an Independent Spirit Award, this amazing young actress should have been recognized by the Academy Awards, but she no doubt has many years and films ahead of her.

She is a “regular girl” type and reminds me of actress Lena Dunham in her looks and her rich delivery.

Kristen Wiig is fantastic and is evolving into a great dramatic actress. As Charlotte, Wiig is wonderfully insecure and an offbeat mother.

She doesn’t discipline; instead, she befriends her daughters, showering them with hugs and kisses and giving the character vulnerable neediness.

Wiig, dynamite in the comedy/drama The Skeleton Twins (2014), has embraced small but important indie films, and kudos to her for this.

Lastly, Skarsgard, mainly known as HBO’s villainous Eric on True Blood, is as inspiring as Monroe.

Providing his character with sympathy and humanity (tough when having an affair with a teenage girl who also happens to be your girlfriend’s daughter), Skarsgard evokes so much emotion in the role that you almost root for Monroe and Minnie before remembering that she is too emotionally fragile.

Skarsgard is brilliant in Monroe’s breakdown scene. I hope audiences see him in more of these complex roles, as he is far more than a hunky actor.

Diary of a Teenage Girl (2015) intersperses graphic-novel and animated elements into the story told from Minnie’s perspective, and the character narrates parts of the film.

This authentic story is not only for teenagers but for smart thinkers and anyone who has ever been overwhelmed by the emotions of love.

Independent Spirit Award Nominations: 1 win-Best Female Lead-Bel Powley, Best First Screenplay, Best First Feature (won)

2016 Films, Comedy, Coming-of-Age, Drama, Independent, Independent Comedy, Independent Drama

20th Century Women-2016

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20th Century Women-2016

Director Mike Mills

Starring Annette Bening

Scott’s Review #611

Reviewed January 22, 2017

Grade: A-

Annette Bening shines in her leading role in 20th Century Women (2016), a film directed by Mike Mills, a formidable independent filmmaker whose credits include 2010’s Beginners and 2005’s Thumbsucker.

In 20th Century Women, Mills serves as director and writer, so the film is his vision.

All five principal characters are quirky and well-written, though Benning’s is the most nuanced and fascinating.

The story is set in Santa Barbara in 1979.

Despite the image of Santa Barbara as a wealthy, grand town dripping with the rich and powerful (perhaps due to the sweeping 1980s daytime soap opera of the same name), Mills doesn’t present this film that way.

He presents Santa Barbara as a more artsy town, at least for his characters.

Benning plays Dorothea Fields, a fifty-five-year-old divorced mother of a fifteen-year-old boy, Jaimie.

She is a free spirit who allows two runaways to live with her: Abbie (Greta Gerwig), a twenty-five-year-old aspiring photographer with fuchsia-colored hair recovering from cervical cancer, and William (Billy Crudup), a handyman.

They are joined by Jaimie’s good friend, Julie (Elle Fanning), a depressed neighbor.

The film explores each character’s trials and tribulations and their interactions in a quirky way, and we fall in love with them all.

Dorothea enlists Abbie and Julie’s help to have a positive influence after he nearly dies from a foolish teenage prank.

Mills gives the period a slice-of-life feel, with heavy references to punk rock and the film’s political climate.

Bands such as Talking Heads and Black Flag reflect Dorothea’s struggle to learn what young people like, stay youthful, and stay in touch with her charges.

Dorothea is a chain smoker, and many scenes feature her pondering a situation while taking long drags. I love this aspect of the film as it showcases Benning’s cerebral performance.

She is a thoughtful woman who wants her son to grow up sane and productive since his father is absent.

Sex and feminism are significant themes in the film. Abbie loans Jaimie two books by female feminist authors to help him better understand women.

When he begins to discuss orgasms and a strange conversation about sex and virginity ensues during a dinner party Dorothea is hosting, the graphic detail is a bit too much for Dorothea.

She is a conflicted character- open-minded and caring; when it comes to her son, she has a more conservative edge while trying to remain open to his new experiences as a teen.

20th Century Women is strictly a character-driven film with enormous strength.

Each character is in a different place in life, and I adore how the film gives each character a conclusion for the years to come.

Indeed, the film follows the “happily ever after” formula, but that doesn’t bother me. Instead, the film is so well composed that the characters’ lives enrapture me.

Admittedly, the film is slow-moving at times, but that’s because of the richness of the dialogue—nothing is rushed.

Kudos to the cast. Gerwig and Fanning are incredibly excellent. Fanning’s Julie is a unique character- her mother is a psychiatrist who forces her to attend group sessions that she holds.

Julie has a step-sister with cerebral palsy, so Julie frequently sleeps at Dorothea’s house as a way to escape her life.

Sexually active, Julie has a pregnancy scare during the story.

A coming-of-age film set in an enjoyable time, 20th Century Women (2016) showcases a stellar cast led by Bening, takes audiences into a wonderful, character-driven world, and explores the lives of its intriguing characters with a clear portrayal of life in the late 1970s.

Oscar Nominations: Best Original Screenplay

Independent Spirit Award Nominations: Best Female Lead-Annette Bening, Best Screenplay

2016 Films, Comedy, Coming-of-Age, Sports

Everybody Wants Some!!-2016

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Everybody Wants Some!!-2016

Director Richard Linklater

Starring Blake Jenner

Scott’s Review #585

Reviewed January 5, 2017

Grade: A-

A follow-up to the successful 2014 film Boyhood, directed by Richard Linklater, Everybody Wants Some!! (2016) is another slice-of-life story with interesting characters, trials, and tribulations.

It has a coming-of-age theme centering around the main character’s struggles to identify with themselves and others.

Like Boyhood, a timeline is used, but instead of taking place over seventeen or so years, it takes place throughout a long weekend preceding the start of the college semester, a blissful yet melancholy time for many.

The setting is steamy Texas in the late summer of 1980.

A few freshman baseball prospects, who were superstar athletes in high school but are unknown here, move into a large house inhabited by other baseball players, hoping to make it to the majors.

The college is fictional but set in Southeast Texas, with a Cherokee team.

The main character, freshman Jake (Blake Jenner), arrives to find a bevy of drunken jocks carousing for a good time.

He bonds with the other guys but is more introspective and complex, and he begins a flirtation with a theater student, Beverly (Zoey Deutch), while also connecting with various other jocks he lives with.

The film is successful because it is a quiet story. Like Boyhood, Linklater focuses on relationships and strong storytelling rather than big, bombastic moments or clichéd stereotypes.

We watch many acquaintances live their lives, get to know each other, and have fun rather than take life too seriously.

At the same time, they worry about their futures and choose to live for the moment, not knowing what tomorrow will bring.

They are stuck in a moment in time.

The musical soundtrack is fantastic, interspersing 1980s bands like Van Halen (known for the title song), Pat Benatar, Devo, and many others while mixing in classic artists like Neil Young and Led Zeppelin.

The film is a bonanza of rock’ n’ roll history.

Everybody Wants Some!! It is well-written and intelligent.

Fellow intellectual jock Willoughby (Wyatt Russell) and Jake don’t quite fit in with the other loud, self-centered jocks, so they forge a close friendship, discuss intricate aspects of Led Zeppelin songs, dissect arrangements, and talk about life rather than guzzling beer and chasing girls.

Ironically, Linklater has Willoughby diss Van Halen as a corporate rock band despite using their name as the film’s title.

One may argue that nothing happens throughout the film, but that is the beauty and what makes it work as an honest, truthful piece of filmmaking.

How novel that the film does not contain any contrived plot devices intended to create tension between the characters- the film is, and that is the beauty of it.

Everybody Wants Some!! It is intended to be observed.

The romance between Jake and Beverly is sweet and unassuming. They come from different backgrounds- he a jock, she a theater major, yet they connect innocently.

The film brings different social groups together, which is a significant accomplishment. We witness the jocks attend a theater-style party and enjoy themselves.

The film successfully merges different social groups into one, but the key is that it never does so in a contrived way. It simply happens organically.

Some complained about the age of some of the actors, many considerably older than teenage years, donning wigs, but that did not bother me. I enjoyed the maturity of the seasoned actors in these roles.

Linklater is a modern director who dares to tell interesting stories about ordinary individuals the audience can immediately identify with, making him a worthy talent today.

2009 Films, British, Coming-of-Age, Drama, Romantic Drama

An Education-2009

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An Education-2009

Director Lone Scherfig

Starring Carey Mulligan, Peter Sarsgaard

Scott’s Review #584

Reviewed January 4, 2017

Grade: B+

An Education, a British film released in 2009, is a small, little gem of a film. The storytelling and the acting are very good.

Since it is a British film, the accents can be a little distracting for some, but I enjoyed it very much.

It tells the story of an intelligent, college-driven teenager named Jenny (Mulligan), who falls in love with an older, charismatic man (Sarsgaard).

She faces conflict from her family and teachers, most notably her father, played by Alfred Molina.

The individuals in her life have differing opinions on which path Jenny should choose. This leads to the main conflict in the film.

The setting is rainy, cold London in 1961.

Headed for Oxford and a successful career (not common for a female in those days), Jenny is willing to risk it all for love, but is she being taken advantage of?

The film is romantic, comical, and serious all rolled into one. The story is nothing original, to be frank, but specifically, the excellent acting makes it worth seeing.

An Education (2009) proves filmmakers can take a good story, told before, and make it compelling to an audience.

Carey Mulligan deservedly received an Oscar nomination for this film and made her debut as a high-caliber young actress to watch.

Oscar Nominations: Best Picture, Best Actress-Carey Mulligan, Best Adapted Screenplay

Independent Spirit Award Nominations: 1 win-Best Foreign Film (won)

2008 Films, Coming-of-Age, Drama, International, International Drama, Irish

Kisses-2008

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Kisses-2008

Director Lance Daly

Starring Kelly O’Neill, Shane Curry

Scott’s Review #500

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Reviewed October 28, 2016

Grade: B+

Kisses (2008) is an Irish film that tells the story of two pre-teenage kids (Dylan and Kylie) who run away to Dublin on Christmas to escape their dysfunctional families and their small-town, morose life.

Instead, they become attracted to the “big city” and the hope of finding Dylan’s older brother, who has run away to escape the oppressive environment.

At first, Dylan and Kylie barely know each other, neighbors, but far from close.

Gradually, they become best friends and form an unbreakable bond.

While in Dublin, they face terror and charming moments of wonderment as they traverse the city, mainly at nighttime.

The two leads have great acting and chemistry, especially as untrained actors. Kylie- an extrovert and full of life- successfully brings out the best in Dylan, who is reserved and withdrawn, so the pair complement each other as they experience their adventures.

The cinematography in Kisses (2008) is fantastic, as one gets to experience the hustle and bustle of Dublin and the quiet countryside of a small Irish town, which is an immense threat and a contradiction in lifestyles.

1998 Films, Comedy, Coming-of-Age, Drama, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Romantic Comedy, Swedish

Show Me Love-1998

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Show Me Love-1998

Director Lukas Moodysson

Starring Alexandra Dahlstrom, Rebecca Liljeberg

Scott’s Review #496

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Reviewed October 22, 2016

Grade: B

Throughout the latter part of the 1990s, films with a more LGBT perspective (then referred to as the gay and lesbian genre) were being released more readily.

It was not until the 2000s that mainstream offerings on the subject (Monster, 2003, Brokeback Mountain, 2006) hit the big screen to wide acclaim.

Show Me Love (1998) is a Swedish coming-of-age story about two high school girls, who are opposites in terms of social acceptance, who find love.

Interestingly, the film was directed by a male, Lukas Moodysson.

Show Me Love originally had a different title, a crude reference to the town the film is set in, in western Sweden. Still, when the film was considered for Academy Award contention (it did not make the cut), filmmakers were advised to modify the film’s title to include any shot.

The film contains a grainy look- using handheld cameras in parts and, of course, is in the Swedish language.

Agnes is sullen, introverted, and brooding. Known throughout the high school hallways as the angry, weird lesbian, she has few friends, and the ones who are kind to her, she shuns away.

Elin, by contrast, is popular, lively, and charming- everybody loves her.

However, Elin is restless in the tiny Swedish town where she lives and yearns for excitement. When Agnes develops a crush on Elin, she confesses it all to her computer but to no one else.

The film is nicely put together and, given the year 1998, is quite brave. Today, many years have passed, and progress within the LGBT community has been made; a film like Show Me, Love is a more common occurrence.

Director Moodysson does not go for anything gratuitous or steamy but rather spins a sweet coming-of-age tale, not only of teen love and hormones but also of outcasts and feelings of loneliness.

It’s a film that most can relate to in some way.

The actresses portraying the leads (Dahlstrom and Liljeberg) are fantastic in their roles, playing them with conviction and believability.

Despite being opposites, we buy their attraction and chemistry. Nothing is forced or dishonest.

My favorite scenes are the awkward 16th birthday party for Agnes, thrown by her well-meaning yet clueless parents. When nobody except a disabled girl shows up, Agnes viciously insults her, causing her to leave.

The family sits in the living room, eating the food that was planned for anticipated guests. It’s a poignant, rather sweet moment. Despite Agnes’s unpopularity at school, she has a very strong, loyal family unit- that is nice to see.

Later, Elin and her sister attend the party, but more as an excuse to avoid another one. Finally, Elin and Agnes share a kiss, but is it a mean dare or is it authentic?

A clever aspect of the film is how Moodysson distinguishes between Elin’s and Agnes’s sexualities. Agnes is gay, open, and out. Elin is very different and has boys interested in her.

The girls could not be more different, and this adds a layer of complexity, as each is at a different stage in self-discovery. This feature also makes Show Me Love very honest in its storytelling.

The film is not a masterpiece and could have ventured into more controversial territory. Could they be harmed for being lesbians, given the town they live in? Why is Agnes so sullen?

This is a stereotype (the brooding lesbian) that needs to be changed, though, given the time of the film, I will give it a slight pass. Why not make Agnes a happy, cheerful, gay girl?

How will Elin’s sister deal with Elin’s sexuality, or is it merely a phase for her?

All sorts of darker issues might have been explored, but Show Me Love (1998) is tender, sweet, and lighter fare, yet still an adventurous offering.

2015 Films, Coming-of-Age, Drama, Independent, International, International Drama, Turkish

Mustang-2015

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Mustang-2015

Director Deniz Gamze Erguven

Starring Güneş Şensoy

Scott’s Review #417

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Reviewed June 18, 2016

Grade: A-

Mustang (2015) is a powerful, relevant Turkish film released in 2015 and nominated for many awards, including the Best Foreign Language Film Oscar.

I fully support the nomination because I think it is a top-notch film.

A coming-of-age story with no clichés and a real, true-to-life feel, it explores generational beliefs and how they conflict with other viewpoints and ideas.

It also focuses on blossoming life and, sadly, tragic death.

The story follows five beautiful young sisters living in a remote village in Turkey, a thousand miles from Istanbul.

The girls range in age from eight to eighteen and live with their Grandmother and Uncle Erol.

The sisters’ parents had died years earlier.

The main protagonist is Lale (Güneş Şensoy), the youngest sibling, who becomes wise well beyond her years as the plot unfolds. We first meet her as she bids an emotional farewell to her teacher before moving to Istanbul.

The film is told largely from Lale’s point of view, but each girl plays an important role.

As the girls play an innocent game in a lake with a group of boys, it causes a scandal in their “old world” village, and their Grandmother and Uncle banish them inside the house, fearing their progressive ideas will hurt and shame them.

The main crux of the story is the conflict between different generations and the yearning of the girls to be free and independent, both sexually and intellectually.

Their older relatives, and others in the town, prefer the old ways and are prudish.

The oldest daughters enter into arranged marriages, while the younger ones fear the same will soon happen to them.

The film wisely avoids portraying these conflicts in a clichéd way or making them overly obvious.

Rather, the film feels real, fresh, and like a slice of small-town Turkish life. Istanbul is described as a paradise of open-minded thinkers and progressive ways, and as “the place to be.”

The girls fear life in the doldrums, cooking and cleaning for their men, married off to older men without any love.

It is unclear if the Uncle is molesting any of the girls- the film alludes to it, but the point is not made obvious. What is clear, though, is the girls’ desire for sexual freedom, experimentation, and love.

They are modern thinkers.

The young actress who plays Lale is a marvel. So natural, earnest, and clever, she befriends an older man who teaches her to drive, and they embark on a sweet friendship.

The film is shown through Lale’s eyes and her reactions. Knowing nothing of sex, she sneaks a peek at a sex education book and is fascinated by her older sister’s sex discussions.

The ending leaves events open to interpretation, and I believe happiness awaits those featured at the conclusion.

Mustang (2015) is a wonderful film, filled with truth, conflict, great acting, and food for thought. A must-see for foreign language film lovers.

Oscar Nominations: Best Foreign Language Film

Independent Spirit Award Nominations: Best International Film

2012 Films, Coming-of-Age, Drama, Independent, Independent Drama, Romantic Drama

The Perks of Being a Wallflower-2012

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The Perks Of Being A Wallflower-2012

Director Stephen Chbosky

Starring Logan Lerman, Emma Watson   

Scott’s Review #415

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Reviewed June 18, 2016

Grade: A-

The Perks of Being a Wallflower (2012) is a coming-of-age gem of a film.

It reminds me of a strange combination of The Ice Storm (1997), Donnie Darko (1999), and American Beauty (1999), but a bit more straightforward and less weird than those films.

Perhaps with a bit of The Breakfast Club (1985) thrown in for a lighter touch.

This movie felt real to me, not like the typical high school schmaltz usually crowding cinemas these days. It’s dark at times but also humorous and well-written.

Each teen in the group of friends has demons to face, and the characters are complex and intricately written. All are insecure in some form, and many teen issues are addressed in a mature, sensitive way.

It’s nice to see Emma Watson breaking away from her Harry Potter image.

The Perks of Being a Wallflower (2012) is a character-driven treat worth seeing.

Independent Spirit Award Nominations: 1 win-Best First Feature (won)

2014 Films, Brazilian, Coming-of-Age, Drama, International, International Romance, LGBTQ+ Films, LGBTQ+ International, LGBTQ+ Romance, Romantic Drama

The Way He Looks-2014

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The Way He Looks-2014

Director Daniel Ribeiro

Starring Fabio Audi, Ghilherme Lobo

Scott’s Review #408

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Reviewed June 4, 2016

Grade: B+

The Way He Looks is a foreign language film (Brazilian) from 2014 that tells a coming-of-age story about a blind high school student who develops feelings for the new kid in town.

The other boy quickly becomes his new best friend, and the boys, unsure of each other’s sexual preferences, fall in love.

The film is a charming story about a modern romance, which is becoming more prevalent today.

Leonardo (known as Leo) is a blind high school student struggling to be his true self.  His close friend Giovana (Tess Amorim) is in a similar situation, as neither has ever been kissed, yet they feel adolescent desires.

They are lonely but share a close bond.

Regardless of his disability, Leo is quite independent, despite having parents who border on smothering. One day, a new student named Gabriel volunteers to sit behind Leo in class and strike up a friendship.

Giovana, unaware of Leo’s sexual preferences, develops a crush on Gabriel.

The film then tells a sweet story about a young, blossoming romance. The main characters don’t face particularly tough obstacles from outside sources, but rather from each other, as their feelings and emotions are fragile.

In addition to romance, the film focuses on the friendships between Leo, Gabriel, and Giovana.

The Way He Looks is a warm film. It is sweet, compassionate, and tenderhearted. The viewer witnesses a budding romance between two teenagers, and the fact that they are both male is secondary- that is how charming the film is.

The audience will root for Leo and Gabriel because they are nice kids. Giovana, the outsider, also has a rooting factor- she is in no way a villain, nor does she harbor resentment for either Leo or Gabriel, but rather yearns for her first romance and happiness.

The film wisely does not turn her into an emotional wreck or a psycho. Sure, she gets drunk at a party, but this is only to escape her feelings.

I recoiled at the scene after scene of Leo’s parents either fretting about something, worried sick about Leo coming home late or worried that something may happen to their son.

Relax already. Life is not meant to be spent frazzled because your son is blind.

The parents are not the film’s strongest characters and are mostly secondary. The case is the same for the bullies, the slutty girl, and the teacher.

The film belongs to Leo, Gabriel, and Giovana.

The supporting characters in The Way He Looks are meant to react to the central characters.

The Way He Looks is about a same-sex, young romance. Charming, not too heavy, with likable characters who one can root for. No bombs, car chases, or explosions are needed.

The Way He Looks (2023) is a slice of life that is simple, pure, and true.

2015 Films, Coming-of-Age, Drama, French, International, International Drama

Girlhood-2015

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Girlhood-2015

Director Céline Sciamma

Starring Karidja Touré

Scott’s Review #398

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Reviewed April 24, 2016

Grade: B

Girlhood (2015) is a coming-of-age French-language drama that follows a sixteen-year-old girl living in a poor area (the projects) just outside Paris.

She faces numerous conflicts and tough decisions about how to live her life. She navigates school, gangs, and romance, alongside a troubled home life.

Wisely, the film is directed a Céline Sciamma, which lends authenticity to the largely female issues discussed.

For all its good intentions and some interesting nuances, the film suffers from a lack of grit and has a safe feel, making it less compelling than it could have been.

I felt I was watching a glossy film rather than any harsh reality.

Still, worth the effort.

Marieme is a tall, gorgeous teenager living near Paris. She struggles academically and is rejected from attending high school, instead being sent on a vocational track to find a job.

Her mother works long hours as an office cleaner, and Marieme’s abusive brother is in charge of the household. Marieme also has two younger sisters.

Upset to learn she will not be attending high school, she is approached by a gang of girls, led by Lady, who asks her to go to the city with them.

She agrees to join their gang when she realizes that her brother’s best friend, Ismael, whom she has a crush on, is friendly with the other girls.

Marieme and the girls begin to pass the days by stealing, fighting, and terrorizing anyone in their path.

They party in hotels and go from place to place. Marieme must ultimately decide if this is the life she wants.

What I found most interesting about the film is its all-black cast. Sciamma (who ironically is white) felt that the female black population in Paris is underrepresented.

This is accurate, and it scores points with me.

I love the camaraderie among the girls. They always have each other’s backs, and when Marieme fights a rival girl to defend the recently beaten Lady, there is a sense of sisterhood that is appealing and is at the heart of the film.

The film explores friendship, loyalty, and bonding.

Most of the cast are either unknown actors or non-actors picked off the streets. As a result, the acting is surprisingly good for most novice or non-actors.

The romance between Marieme and Ismael is another strong point. They share an undeniable attraction but are forced to keep their relationship secret.

Marieme’s brother appears to run a boys’ gang and forbids anyone from being with his sister.

The scenes shared between Marieme and Ismael are tender, sweet, and believable. They have a rooting factor.

The positives are also Girlhood’s negatives. The film lacks real grit or dirt, and it plays the friendship and romantic elements safely.

Everything is glossy and bright.

For example, two fight scenes occur: one between Lady and a rival girl, and one between Marieme and the rival girl. A group of spectators gathers in a circle, egging the girls on. They are in a hot, deserted parking lot.

The scenes could have been brutal, bloody, and fierce. Instead, they are short, lack blood or bruising, and feel safe. When Marieme pulls out a knife, it is intended to cut the rival girl’s bra, not to stab her.

This seems unrealistic and not how things would play out in an urban gang situation.

And on a nitpicky level, why was the mother absent from the family life? Sure, she had a night job, but the film presented her as almost out of the picture.

She tried to help Marieme get a job, but her busy schedule still caused so much turmoil.

Also, the silly scene of the girls playing miniature golf added nothing to the plot and should have been dropped.

Girlhood (2015) is a nice, albeit sweet, female coming-of-age gang story that might have been more intense, but the filmmakers chose a softer tone rather than a harsher one.

It focuses mainly on bonding, friendship, and life choices rather than the realistic brutality it could have dealt with.

Independent Spirit Award Nominations: Best International Film

2013 Films, Coming-of-Age, Drama, Independent, Independent Drama, New York City

It Felt Like Love-2013

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It Felt Like Love-2013

Director Eliza Hittman

Starring Gina Piersanti

Scott’s Review #283

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Reviewed October 17, 2015

Grade: B

It Felt Like Love is a small, independent film from 2013 that garnered an Independent Spirit Award nomination.

A coming-of-age story encompassing a vulnerable and naïve fourteen-year-old girl, aware of her budding sexuality and developing a crush on an older, rebellious boy.

Quiet and subdued, the film tells an honest story of a young girl’s emotional struggles surrounding jealousy, loneliness, and fitting in.

Lila is a typical teenager living in New York City in what appears to be a blue-collar area of Brooklyn. Lila emulates her seemingly more mature best friend (she is turning sixteen) and much more sexually experienced, Chiara.

Never without a boyfriend and very popular, Chiara gains the attention of almost every boy she is around.

One day on the beach, a handsome friend of Chiara’s, named Sammy, passes by, when Chiara describes him as “sleeping with anyone”, Lila becomes fixated on him.

As she pursues him relentlessly, she puts herself in precarious situations and gets in way over her head.

Throughout this drama, Lila’s best male friend and neighbor, a child-like and innocent-looking kid, contrasts perfectly with the rugged, older Sammy.

Lila has two “men” in her life who could not be more opposite. The neighbor kid represents her youth, and Sammy, her adulthood, and she is stuck somewhere in the middle, wrestling between the two stages of her life.

The film is the debut of acclaimed director Eliza Hittman, who weaves an interesting and true-to-life premise. A fourteen-year-old girl’s feelings and emotions are powerful and often lead to risk-taking without thought of repercussions.

Liza is extremely vulnerable as anyone her age is, especially since the film reveals that she has recently lost her mother to breast cancer.

Her father is a caring yet no-nonsense type and is written well, as a typical blue-collar father would act.

The standout to me is the actress who plays Lila, Gina Piersanti. What a marvel! The youngster brilliantly portrays a range of emotions- gloominess, insecurity, and annoyance.

She is insecure but intelligent and savvy for her age. Her obsession with Sammy, clearly from the wrong side of the tracks, is dangerous, as he smokes pot regularly, parties, and works in a pool hall.

He ultimately isn’t for her, and I think Lila knows it deep down. But at her age, she is craving attention and sexually blooming.

All of the actors in the film are newcomers and do a fantastic job of relaying honesty. Lila’s motivations are not always clear, but then again, she is a teenager- moods and motivations change with the weather.

In one powerful scene, Lila hangs out at Sammy’s apartment (where she usually is and is seen as a pest). Sammy and his two friends are smoking pot and watching basketball on television.

Somehow, the subject matter turns to oral sex. As Sammy’s friends eagerly accept Lila’s awkward offer to pleasure them, Sammy rebuffs her advances and says that his “privates” do not like her.

This seems to lead Lila to leave him alone.

The audience hopes she musters her self-esteem and goes on with her life. The showing of full-frontal male nudity was surprising to me- very seldom is this shown in American cinema.

Interestingly, we never actually see Lila engage in any sexual activity. The point of the film is that she wants to desperately, but we cringe as we fear for the worst in each dangerous sexual encounter she experiences.

Perhaps it could have been further developed or fleshed out, but It Felt Like Love (2013) is a truthful, quiet film with powerful acting and writing from new talent sure to be around for years to come, with the wonderful skills they possess.

Independent Spirit Award Nominations: Best Cinematography

2015 Films, Animated, Best Animated Feature Oscar Winners, Coming-of-Age, Disney, Kids

Inside Out-2015

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Inside Out-2015

Director Pete Docter

Starring Amy Poehler

Scott’s Review #272

Reviewed September 8, 2015

Grade: B+

Frequently, when I view a modern animated feature (and by contemporary, I mean 1990 and beyond), I am either bored or left with a “meh” feeling, or both.

It seems the trend is, “Let’s create a manufactured film that will appeal to kids who will drag their parents to it.”

It is almost as if mediocrity is accepted in animated films, but Inside Out (2015) challenges this trend with a thoughtful, interesting story.

This latest Pixar offering is a refreshing, intelligent film that makes the viewer think, with a genuinely cute factor, lots of color, and interesting animation throughout.

The story follows eleven-year-old Riley Anderson and her five personalities working together in her brain.

The emotions are five distinct little people representing (and named) Joy, Sadness, Disgust, Fear, and Anger.

They overlap, conflict, and humorously strive to take control of Riley’s mind and thought processes.

Joy is central and the happiest of emotions. They all live in Riley’s conscious mind, named Headquarters.

One day, Riley and her family pack up and move from Minnesota to the unknown, overwhelming city of San Francisco to take advantage of a job opportunity offered to Riley’s father.

The city is bustling, and the family is thrown for a loop. Riley, in particular, struggles to adjust to this vastly different world and finds herself friendless and acting out of character.

Sadness accidentally begins touching other emotions in Riley’s mind, triggering strange reactions that make her behave erratically and become irritable.

Joy and Sadness struggle to return to Headquarters and fix the issues.

Inside Out is a complex animated film and will go way over the heads of many youngsters who will undoubtedly see it.

I find this rather refreshing.

It is a coming-of-age tale for adults and mature kids that challenges its audience rather than spitting out a retread or formulaic family story that we have seen countless times.

Riley and her parents are arguably supporting players, taking a back seat to the small, interesting creatures in Riley’s mind. Her mind is a carnival of riches, and cool characters emerge.

I smiled as more characters were introduced. Riley’s imaginary friend from years ago, Bing Bong, was pulled to the forefront of her emotions, only to be sadly forgotten.

Who cannot relate to this? A childhood ritual of creating a friend.

I adored the trip through Riley’s mind and marveled at the revelation of how it works, with creative colors and bright, interesting lights.

What a super-cool adventure for a young film lover to experience! Inside Out is quite sophisticated.

The main concern is how much patience this film requires. It isn’t a force-fed story; it encourages you to experience and feel.

Touching scenes prevail, but Inside Out’s message is important. A multitude of emotions in every human being is normal, and the way the film shows them overlap and work together is ingenious.

Nobody is one emotion, nor should they be, and the movie promotes that idea successfully.

Human beings are meant to feel.

The film also contains humor. I laughed out loud when one character saw a button labeled “puberty” and assumed it was unimportant. This inside joke is also alluded to after the film, perhaps in a sequel?

Since Riley is only eleven, puberty will be a natural progression.

Inside Out challenges the norm in animated films and entices audiences to think. It feels genuine, which is impressive. It is sentimental without feeling contrived or corny.

The film succeeds on many levels.

Oscar Nominations: 1 win-Best Original Screenplay, Best Animated Feature Film (won)