Mid90s


Sk8er Boiz.

(2018) Drama (A24) Sunny Suljic, Katherine Waterston, Lucas Hedges, Na-kel Smith, Olan Prenatt, Gio Galicia, Ryder McLaughlin, Alexa Demie, Fig Camila Abner, Liana Perlich, Ama Elsesser, Judah Estrella Borunda, Mecca Allen, Aramis Hudson, Sonny Greenback, Del the Funky Homosapien, Chad Muska, Donovan Piscopio, Kevin White, Harmony Korine, Lauren B. Mosley. Directed by Jonah Hill

 

Growing up is never easy and the movies have made a cottage industry out of illustrating that. This coming-of-age film set in 1995 in Southern California, introduces us to Stevie (Suljic), a 13-year-old boy who lives with his single mom (Waterston) and his abusive older brother Ian (Hedges). Stevie escapes the dreary home life by hanging out with older skaters in a local skate shop. The problem is that Stevie doesn’t have a board and doesn’t know how to skate, but he trades his brother for one and learns on his own – painfully.

Eventually he gets accepted and even respected by the misfits at the store – Ray (Smith), Fuckshit (Prenatt), Fourth Grade (McLaughlin) and Ruben (Galicia), the latter of which introduces him into the world and later resents him for gaining acceptance so quickly. Nicknamed Sunburn by his new friends, Stevie is introduced to the staples of skater culture; drinking, doing drugs, sex, and getting into trouble.

Although the movie isn’t autobiographical, writer-director Hill, bests known as the star of films like Superbad, gives the movie an authenticity of era that is downright amazing. The situations and dialogue ring true; if it isn’t autobiographical, Hill must have had some personal experience at least similar to what was depicted here. Most of the cast (particularly the skaters) are non-professional and they do a credible job. Prenatt has an irresistible smile and an easy charm, but as his character begins to spiral into alcohol and drug abuse, there isn’t a sense of the tragic so much as of the inevitable. Smith also has a big brother-like feel which is perfect for Ray’s relationship with Stevie.

The movie does tend to lose steam in the final reel, and the authenticity that characterized much of the film falls apart into contrivance in the final scenes. This is definitely a guy’s picture, as female characters are few and far between save for Stevie’s mom, who is given little to do, and a scene in which Stevie has his first sexual experience with an older girl (Demie). Still, this is a solid effort and even if you were never part of the skater culture and never wanted to be, there is definitely something here worthwhile. Hopefully we’ll see more of Hill in the director’s chair down the line.

REASONS TO SEE: Gritty and gut-wrenching; captures the era perfectly.
REASONS TO AVOID: Loses steam and becomes a bit more contrived by the end.
FAMILY VALUES: There is a good deal of profanity, drug use, violence and sexual content.
TRIVIAL PURSUIT: Hill, making his debut as a director, shot the film entirely on 16mm stock.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Kanopy, Microsoft, Redbox, Vudu, YouTube
CRITICAL MASS: As of 2/16/20: Rotten Tomatoes: 81% positive reviews: Metacritic: 66/100.
COMPARISON SHOPPING: Kids
FINAL RATING; 6.5/10
NEXT:
H4

The Back-Up Plan


The Back-Up Plan

Jennifer Lopez shows how many times Alex O'Loughlin takes off his shirt in the movie.

(2010) Romantic Comedy (CBS) Jennifer Lopez, Alex O’Loughlin, Eric Christian Olsen, Melissa McCarthy, Michaela Watkins, Danneel Harris, Noureen DeWulf, Anthony Anderson, Tom Bosley, Maribeth Monroe, Robert Klein, Linda Lavin, Cesar Millan. Directed by Alan Poul

Life doesn’t always go the way we want it to. We make plans, have an idea in mind as to what we want out of life. When things don’t go as expected, it’s good to have a back-up plan.

Zoe (Lopez) thought she had it all figured out; great job, get married, have a few rug rats, presto blammo life is sweet. The problem is that none of her boyfriends were working out (men being what they are) and the old biological clock is beginning to tick just a hair louder. Therefore, Zoe makes the decision to go the man-less route in having kids.

Yup, we’re talking artificial insemination. Zoe goes to a fertility clinic where a kindly old doctor (Klein) does the procedure and she gets all knocked up. Giddy from the news, Zoe leaves the clinic on a stormy afternoon and gets into a cab. Trouble is, Stan (O’Loughlin who filmed this just before finding stardom in the TV reboot of “Hawaii Five-O”) spotted the cab at exactly the same time. The two argue and Zoe eventually gives up the cab because she doesn’t want to spoil her great mood.

Of course, now the two of them see each other everywhere. This is the Hollywood God Mechanism, cinematic deities sending none-too-subtle messages that the two were meant to be together. And of course, they are. This is a romantic comedy, after all. The two fall in love but Stan isn’t aware that Zoe has a bun in the oven and Zoe isn’t about to tell him because he might bolt. Boyfriends are a lot like deer that way, skittish.

Eventually she breaks down and tells him and Stan being a Great Guy (you can tell right away he’s a great guy because he’s an organic farmer selling his organic goat cheese at a Tribeca farmers market) doesn’t bat an eyelash but takes on the responsibility of being not only a boyfriend but a father to be – without any genetic connection or legal requirement. I can picture half the single moms in the audience sighing “Why can’t I meet a guy like that?” particularly when Stan shows up shirtless on a tractor, a kind of Chippendale’s farmer get-up.

Of course this is a Hollywood rom-com so there are going to be issues. The couple is going to break up. Are they going to get back together again? Are you kidding? C’mon, you know what the answer to that is.

Lopez is one of those actresses that has a great deal of talent is sadly aware that she has a great deal of talent. One gets the impression that she has a person in her entourage whose sole purpose is to tell her what a great deal of talent that she has. I’m not saying that she’s egotistical, but she seemed to be a much better performer before she became a Big Star. Even in Anaconda, as ludicrous a horror movie as has ever hit the big screen, she was more natural an actress.

I have to admit though, that she is really charming here. It’s as if that entourage flunky has been given the new responsibility to remind her that she doesn’t have to be Jenny from the block 24-7. She can be Zoe instead, a kind of meek and sweet girl. This is the kind of performance that made her a star in the first place.

O’Loughlin turns out to be an appealing romantic lead; together with his cop action persona in Five-O could well parlay that into stardom of his own. The supporting players are for the most part forgettable, although Klein has a few good moments and Anthony Anderson gets a really great scene as a playground dad telling Stan about the joys and pitfalls of being a dad.

Like most Hollywood romantic comedies, this is as wispy and sugary as cotton candy and just as forgettable. It is a pleasant diversion for as long as it’s there, but not long after it’s gone you might feel hungry for something more substantial. It does at least give me hope that Lopez is capable of better than we’ve been seeing from her lately, and that in itself is worthwhile.

WHY RENT THIS: Lopez is as engaging and charming as she’s ever been. O’Loughlin is an appealing leading man.

WHY RENT SOMETHING ELSE: As with most Hollywood rom-coms, very formulaic.

FAMILY VALUES: Being as the movie is about being pregnant, there are a lot of pregnancy and sexual jokes herein; there’s a tiny bit of bad language and some mature themes.

TRIVIAL PURSUIT: This was the late Tom Bosley’s final film.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $77.5M on a $35M production budget; the movie broke even and even made a little bit of money.

FINAL RATING: 6/10

TOMORROW: Dream House