The Art of Getting By


Discovering that craft services is Vegan only.

Discovering that craft services is Vegan only.

(2011) Teen Romance (Fox Searchlight) Freddie Highmore, Emma Roberts, Sasha Spielberg, Marcus Carl Franklin, Ann Dowd, Maya Ri Sanchez, Blair Underwood, Ann Harada, Rita Wilson, Jarlath Conroy, Elizabeth Reaser, Andrew Levitas, Sam Robards, Alicia Silverstone, Michael Angarano, Dan Leonard, Sophie Curtis, Lindsay-Elizabeth Hand. Directed by Gavin Wiesen

It seems sometimes that the world is overcrowded with movies about teens, floundering to find themselves, finding romance which inspires them to put aside whatever bullshit they were into and grow up. I’m not sure if the source of these are frustrated parents of teens, desperate for hope that their own kids are going to grow out of the phase they’re in, or by former teens who wish that their issues could have been resolved that easily.

George (Highmore) is a self-described misanthrope, although I might have added nihilist to the description. He is a budding artist who is inspired by nothing. We’re all going to die eventually, he reasons; why bother doing anything? So the homework at the elite prep school in Manhattan that he attends remains uncompleted and he spends his lunch breaks alone and reading Camus. And if you needed one more clue that George is a pretentious Morrissey-wannabe, he always always always wears a dark overcoat. Except in the picture above.

Then Harry – I mean George – meets Sally (Roberts) and impulsively takes the fall for her smoking on the school roof. Side note: has anybody actually named their daughter Sally since, say, 1947? Anyway, the two start hanging out together and George begins to develop those kind of feelings for her which are either not reciprocated or ignored. As it turns out, Sally’s got issues of her own although we don’t find out what they are until later in the film.

George also meets Austin (Angarano), an artist who starts hitting on Sally. George’s parents – his doormat mom (Wilson) and his stepdad (Robards) who turns out to be not nearly as successful as he let on – are having issues. George, now really upset, has a blowup with Sally and the two fall go their separate ways, Sally into a relationship with Austin and George into a quest to find meaning by finishing his homework which leads me to believe that the first group might be the source of this particular film.

First-time director Wiesen cast this Sundance entry well, with Highmore especially proving to be fortuitous. The young Brit has been a skilled actor for quite awhile (and has received rave notices for his work on the Psycho TV series. The George character is truly unlikable when we first meet him; pretentious and angst-ridden in the worst teen way. Like many teens who prefer to embrace the doom and gloom, they refuse to see the things right in front of them that are good – a mom that loves him, a school that wants to inspire him, a girl that could be good for him.  Instead, he prefers to mess things up for himself which is pretty true-to-life.

What isn’t is that the movie follows too many teen movie cliches in that everything is resolved by a girl leaving a guy, forcing him to make changes for the better and by the end of the movie he’s actually a likable guy with a bright future and of course the ending is as predictable as a Republican reaction to an Obama policy. Most kids are far too complex and far too smart to believe this as anything but the most optimistic fantasy. Change comes from within, and change for the better is hard work. I can’t think of many schools, particularly elite academic institutions, that would be willing to let someone who has slacked off on turning in his homework all year save his academic life. In fact, most schools would have expelled his ass long before.

Despite the cliches, this is actually a pretty decent example of the teen coming-of-age romance genre and while it’s no Say Anything it’s still competently made and has some decent performances, especially from Highmore. And, for once, the adults aren’t treated like morons; they have their own issues sure but they are well-meaning. Of course, the trend lately is to eliminate the adults from the conversation entirely, but Wiesen doesn’t do that. The Art of Getting By more than gets by, thankfully; it’s not a movie that will change anybody’s life or perception of it but it fits the bill, particularly if you’re into the niche that it fits in.

WHY RENT THIS: Highmore is engaging and turns an unlikable character into a likable one.
WHY RENT SOMETHING ELSE: Doesn’t really add anything to the teen coming-of-age romance movie genre which is overcrowded as it is.
FAMILY VALUES: Some of the thematic elements are aimed at more mature teens and adults. There’s also plenty of foul language, sexual content and scenes of teen partying and drinking.
TRIVIAL PURSUIT: In the first scene, the camera passes by Tom’s Restaurant, the one made famous by Seinfeld.
NOTABLE DVD EXTRAS: There are a couple of very brief interview segments on New York City and young love in general.
BOX OFFICE PERFORMANCE: $1.4M on an unknown production budget.
SITES TO SEE: Netflix (DVD/Blu-Ray rental only), Amazon, iTunes, Flixster
COMPARISON SHOPPING: Restless
FINAL RATING: 6.5/10
NEXT: Outside the Law

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Rubber


Rubber

Just rollin’ along.

(2010) Horror Spoof (Magnet) Stephen Spinella, Jack Plotnick, Wings Hauser, Roxanne Mesquida, Ethan Cohn, Charlie Koontz, Daniel Quinn, Devin Brochu, Hayley Holmes, Haley Ramm, Cecilia Antoinette, David Bowe, Remy Thorne, Tara Jean O’Brien. Directed by Quentin Dupieux

 

Sometimes things happen for no reason. Never is that more evident than in the movies. Some things just occur because they need to for the plot to advance. If you think about it too much your brain explodes.

In the middle of a desert (I’ve heard tell it’s California) a group of people gather. They are waiting expectantly, for what we don’t know. Suddenly a car roars in, knocking over a bunch of chairs. From the trunk comes Lieutenant Chad (Spinella), ranting about the movies and why people don’t use the bathroom in The Texas Chainsaw Massacre (the answer? no reason). He then presents for the onlookers a kind of live movie which they watch with binoculars and comment regularly on the goings on.

A tire (named Robert in the credits) stirs to life, half-buried in the sand. It takes halting attempts to rise and roll, often ending with it back on its side but eventually it begins rolling. It discovers it can direct its own travels and then it also finds it can cause things to explode, starting with birds and scorpions and graduating to larger animals…and humans. In the case of humans, it’s the heads that go boom.

It finds its way to a motel where it rolls into bed, watching an exercise video. It watches a maid make up the room. It evades the cops. Why? I’m sure you can guess.

Think of a nihilistic “Seinfeld” with a Dada streak a mile long, only without the standup comedy. The humor here is far more subtle and black. The horror element is more in the gore than suspense or atmosphere. They don’t always mix well.

Dupieux, who also operates under the nom des artes of Mr. Oizo (an electro musician and performance artist) has a twisted vision which I have to give props for. It is unique and unlike any other movie which you’re ever likely to see. Unfortunately, that doesn’t make it necessarily something you would want to see. The constant breaking of the fourth wall by the actors and the audience/chorus gets to be irritating after awhile, plus the constant nihilistic “let’s move the plot in unexpected directions for no reason” is often confusing and also gets annoying.

I don’t have any problem with nihilism. I don’t really have a problem for making a movie about the randomness of life. I do have a problem with stringing together a random sequence of events that takes off willy-nilly just because you can. Actions, believe it or not, have consequences. They don’t occur in a vacuum and the best movies understand that. While I appreciate the sense of silliness and the courage to try something completely different, at the end of the day I wound up not connecting to this and just kind of enduring it as it came to its end. I need a little bit more from my Art.

WHY RENT THIS: Clever idea.

WHY RENT SOMETHING ELSE: Lacks in execution. The black comedy and horror elements don’t mesh well. At the end of the day more pretentious than outrageous.

FAMILY VALUES: There is a good deal of violence, plenty of foul language and some twisted situations that have an underlying sexuality.

TRIVIAL PURSUIT: Quinn, who plays one of the spectators here, also played a Scanner in Scanner Cop who was able to blow up people’s heads with the power of his mind as the tire does here.

NOTABLE HOME VIDEO EXTRAS: There is an interview with Dupieux conducted by a blow-up sex doll. Of course.

BOX OFFICE PERFORMANCE: $100,370 on an unreported production budget; I think it might have made a profit but more likely broke even.

COMPARISON SHOPPING: Howard the Duck (seriously, I couldn’t think of a single movie remotely like this).

FINAL RATING: 4/10

NEXT: Klown