Boyhood Review

12 Years A Boy

Released : July 11 2014

Certificate : 15

Director : Richard Linklater

Cast : Ethan Hawke, Patricia Arquette, Ellar Coltrane, Lorelei Linklater

Plot : The childhood and developing years of Mason, from the age of six till he turns eighteen.

Boyhood is entirely original. The film follows the story of a fictional family over a twelve year period, centring on the youngest member of the family, Mason. What makes this film so original to watch is the fact that the film was shot over twelve years. Filming a few days each year for twelve years, so that in the film the cast ages as the story progresses over its twelve year timeline. Before this film, in order to create an effect such as characters ageing over the films timeline, make up or special effects would be employed. Such a film that did this recently was 12 Years A Slave. But in Boyhood it’s the real thing, which makes for truly enchanting viewing. If nothing else this is what will endure about the film, as a milestone in motion picture history.

The main character on whom the film follows through his developing years is Mason, beginning the story when he is just six years old. He lives with his mother, Olivia, and his sister, Samantha. Mason’s father, Mason Sr., visits the family on weekends. Throughout the story Mason will learn and develop. We follow him as the different moment of his life effect the man he becomes.

The story of Masons life has no rarity to it, it merely contains significant highlights, but this the aspect of the film that is special, it normality. The fact that Mason’s life is normal allows us to observe the uniformity in growing up.  The film is also able to hold several significant events that many of us share and yet still maintain the feel of a enjoyable story. It is not just a film that has crammed as many unanimously common life events as possible, like learning to ride a bike, getting in your first fight or losing your virginity. The film does not contain that level of documentation. It has the perfect amount of detail and heart to make the film enjoyable and touching. One monumental thing that the film does not feature that all of us have or will inevitably experience, is death. Whether this is deliberate or not, it does reflect the films study of life. In many ways the film studies that huge topic in a way never before observed.

Richard Linklater has executed his vision beautifully. The age transition of the actors is not a easy feet to manage, but Linklater makes it seem effortless. But that was not the real challenge faced by Linklater, the ability to maintain the heart and feel of one story for 12 years is outstanding. When watching the film there is never a ‘year’ or chapter in which you feel the film has lost momentum emotionally. Linklater has been able to remake the films magic each year, that is a feet not every director could manage. Some films can lapse in effect or potency  which are shot entirely in a six month period, Linklater was on top form for 12 consecutive years. Linklater also was able to convey each year with brilliant detail, demonstrating the different perspective and realities of each year in the lives of the charters. Making each year seem like its own equally important chapter.

This ability to return to the same state of intensity is executed just as well by the cast, with superb performances from Ethan Hawke and Patricia Arquette. They are able to bring excellent reality to the roles of the mother and father, making the film almost just as much about parenting as it is about childhood. With Hawke giving one of his best performances as the cool dad who is hard not to love, and Arqutte also on top form as the sensible mother. Another treat that comes with this film is the ability to see the younger actors grow from oblivious six year old’s, into professional actors, and Ellar Coltrane is nothing less than that. But it is not the individual performances that makes the acting special, its the beautifully and believable chemistry of the actors together to create the family. Even to an extent where you could ask if the actors were related, by far one of the best fictional families to grace cinema.

The concept and the method of filming is ground-breaking, but the film itself matches the brilliance of its shooting method. The film has something in it for everyone, no matter what age you are (mostly). This film without doubt is very promising Oscar bait for a number of reasons. It will be very interesting to see how much of a difference this makes in cinema, and how many other will have the perseverance to undertake such a colossal project, if any.

Verdict : What a concept! What a film! Motion picture history.

Verdict : 5/5

Quote : “You don’t want the bumpers, life doesn’t give you bumpers.”

Mini review: The LEGO Movie (2D)

Released: Out now on DVD/ Blu-Ray/ on demand

Certificate: U

Directors: Phil Lord, Christopher Miller

Cast: Chris Pratt, Elizabeth Banks, Will Arnett, Alison Brie, Will Ferrell, Morgan Freeman

It is always a good plan to be suspicious of films with a high merchandise potential. A film based in a world of toys? Toys from one specific brand? Red flag. Happily, The LEGO Movie transcends its marketing-friendly format, embracing the fact that its main characters are toys so wholeheartedly and with such subversive ingenuity, it’s easy to cast cynicism aside and be hypnotised by the kaleidoscopic adventure that unfurls as the film progresses. A cast of skilled voice actors, including the ubiquitous Chris Pratt as blank-slate construction worker Emmett, mesh with stunning animation and an engaging story. The humour, too, is spot on: jokes fly like confetti and there’s plenty of slapstick for those who don’t care for puns. If the film is let down by anything, it’s a fairly run of the mill romantic subplot which feels flat in a narrative that works hard to be original.

Verdict: 4/5

[Image credit: http://www.thelegomovie.com]

Review: Obvious Child

Released: 29^th August

Certificate: 15

Director: Gillian Robespierre

Cast: Jenny Slate, Jake Lacy, Gaby Hoffman, Gabe Liedman, Richard Kind, Polly Draper

At 28 going on 16, Donna is moderately successful as a hobbyist stand up comedian. But when a fairly brutal dumping by boyfriend Ryan (Paul Briganti) leads to a drunken night and hookup with handsome stranger Max (Jake Lacy), Donna’s life suddenly becomes more complicated.

One of the many aspects of society that Hollywood has a tricky relationship with is abortion. Considering the political landscape of the United States this is perhaps unsurprising. It is refreshing, then, that the canon of romantic comedies centring on unwanted pregnancy has this latest edition. And unlike (undoubtedly excellent) films such as Knocked Up and Juno, Obvious Child is far less squeamish around discussion of termination. In fact, it’s one of the least squeamish rom-coms ever made.

Slate is a charming screen presence, rendering Donna a happy-go-lucky screen heroine to rival any of Seth Rogen or Kristen Wiig’s creations. Donna’s frank and filthy stand up routines reflect her openness as a character, and Slate gives her a win-all smile and an infectious giggle. Despite dealing with weighty topics, Obvious Child also adheres to its rom-com roots, and is better for it. The central romance works as more than a vehicle for talking about ‘the issues’, and Jake Lacy is a charming compliment to Slate. The dance montage is resurrected joyously here to the Paul Simon song that gives the film its name. Although Obvious Child is open in its criticism of the way abortion is treated in mainstream discourse, it is never didactic in its approach. Donna’s quiet panic when confronted with a $500 dollar fee for the procedure and her fear of telling her perpetually disappointed mother (Polly Draper) speaks volumes; and while the anger that it is not within Donna to express is given voice in her BFF Nellie (a superbly on-form Gabby Hoffman), this is not pushed unduly. Although the central romance is a focus, Obvious Child is also an ode to how women can support each other. Nellie is arguably Donna’s rock, and the film deftly flips the ‘overbearing mother’ trope on its head.

If there are any negative points they are that the film is occasionally a bit too knowing- a moment when Donna says she ‘doesn’t identify’ with romantic comedies is perhaps a little self indulgent. But overall this is a welcome addition to the new generation of smarter, brasher romantic comedies.

Verdict: 4/5

[Image: obviouschildmovie.tumblr.com]