Sometimes a plotline and cover art can invoke high expectations, which unfortunately are more than likely to remain unrealized. That’s the case with the 2020 American drama Chance. With a plot description stating: “A true story of a teenage love triangle leading to one of the two boys’ tragic death – told through the lens of elite youth baseball.” –  one is looking for a heart wrenching Coming-of-Age drama.

Still, while the narrative barely manages to build some tension after the one-hour time mark, one never gets engrossed in the story or develops a relationship with the on screen characters.

My disappointment with the film lies with the narrative, which is character-based, but lacks uniformity and a solid cause-and-effect relationship. You could take out the movie’s first hour, which follows the film protagonist from the tender age of six to his late teenage years in a linear and rather dull manner.

Doing that would not affect the overall theme of the film in that first part. In that first hour, the story is perceived through a “Little League/youth baseball lens”, but only enough to establish a general atmosphere. It’s a cliched representation of an American childhood complete with country fairs and flags, prayers (even at the baseball field), etc. The cheesy soundtrack cheapens the film’s overall feel as well — a dead giveaway of a rushed production. 

Things improve in the second half of the film, with even the score improving slightly to bring tension to the narrative, so that an intrigue is now present. But it’s too little, too late and an hour of screen time is lost in vain. Some Coming-of-Age narratives may use the linear approach to develop the main character, but while we see him at various ages, the scenes themselves never really interconnected progressively.

The camerawork is principally OK, surprisingly more so in the first part of the film with scenes portraying Little League baseball games with excellent focal points and close-ups. Most of the cast manages to pull off good performances (even the kind of performances one would expect from a sitcom or a Hallmark special). Yet, the issues with the script and the mediocre direction ruin the experience. 

Chance – Trailer 

[imdb]https://www.imdb.com/title/tt7915464/reference[/imdb]

Chance (2020)

In short

A disappointing film that attempts to portray the life of a boy, Chance, from the age of six to 16.

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Storyline/Screenplay

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Reader Rating0 Votes

1.5

Our rating

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In William Dear‘s Wild America, a  trio of brothers in the 1960’s set out across America to film endangered wildlife.

The film is narrated in the first person by its youngest protagonist, Marshall (Jonathan Taylor Thomas), with internal monologues offering direct access to the inner world of his thoughts.

This approach introduces a nostalgic vibe to the story (almost like reading an excellent Coming-of-Age novel). Yet, it doesn’t diminish the fun and adventurous spirit of the narrative.

Undoubtedly, much of the film’s appeal is owed to the acting talent and charming appearance of the young Jonathan Taylor Thomas (thus the many close-ups on his face reacting to various happenings and sayings). For many of his fans (past and present), JTT’s name would be enough of an enticement to give the film a chance.

The adventures are in abundance. After all, in how many films would you witness a young boy thrown into all kinds of bizarre situations — close to bears, crocodiles, and highly angered moose. Most of the film’s happenings are most unlikely ever to happen in real life, yet one has to cut some slack for a movie whose primary goal is to entertain, be it with silly, yet thrilling ventures.

The film’s plot is inspired by the documentation of Mark Stouffer‘s real-life experiences and those of his two younger brothers. Therefore it is also possible that my envy for the boys’ adventures hinders my judgment of the implausible possibility that such adventures (singing a lullaby to the bears, feeding a crocodile with a flashlight, riding on the horns of an angered moose) ever happened.

For a film released back in 1998, many of the scenes are relevant to present-day youth – with daredevil stunts and risky, adventurous challenges in the search for that killing video clip destined to become viral. So, in a way, the film’s fast-paced scenes will appeal especially to preteen audiences who may forgive the lack of consistency of the narrative or the incredible clichéd finale.

I didn’t take much from this film and did not consider it to be a fine example of the Coming-of-Age cinema, but neither was I bored while it played. While I can’t extend a wholehearted recommendation, the film would make a perfect choice for a relaxed Sunday afternoon.

Trailer

[imdb]https://www.imdb.com/title/tt0120512/reference[/imdb]

Wild America (1997)

In short

A trio of brothers in the 1960's set out across America to film endangered wildlife, narrated in the first person by its youngest protagonist played by Jonathan Taylor Thomas.

2.3

Our rating

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Today’s Italian cinema has shifted its focus from harsh melodramas and mafia themed crime films to crowd-pleasers such as intelligent yet entertaining comedy flicks. In 2014, a year after the release of Gennaro Nunziante‘s comedy Sole a Catinelle (Sun in Buckets), a new film with an equally witty title graced the screens: Maicol Jecson.

This time the story is narrated by its edgy young protagonist Andrea (Niccolo Gentili), a 16-year-old teenager with raging hormones and one purpose in mind — losing his virginity to his girlfriend, Eva.  The small hurdles on the way are being addressed one by one – parents depart on vacation, and Andreas comes up with a plan to skip the summer camp he and his younger brother Tommaso (Tommaso Neri, already seen in the 2012 short film I KILLER ) are to attend.

Yet, “Life is what happens to you while you’re busy making other plans” — so things don’t go as smoothly as expected. The little brother decides to stay home, and there is no way to get rid of him.  Tommaso is an adorable kid with one huge obsession – Michael Jackson. His admiration of Michael is so immense that he wears a colourful mask just like Michael’s kids, and he’s constantly singing and dancing.

After all of Andrea’s friends refuse to babysit Tomasso, he invents a game of “Granddads”:  leaving the little kid with the elderly inhabitants of a nearby retirement home. But this plan goes to hell as well, and Tommaso comes home with Cesare (Remo Girone), an elderly gentleman (with dementia) who genuinely believes himself the grandfather of the boys. The adventure has just begun …

The film’s most remarkable feature is its excellent, bizarre and original story in which stereotypes are used only for comic relief. The film brilliantly intertwines road movies and comedies elements without sacrificing the motifs we are used to seeing in Coming-of-Age narratives, such as the focus on love, friendship, and discovering what really matters in life.

The Michael Jackson character and music serve as a leitmotif (from which the film gets its title) — making the story feel innovative and remarkably refreshing. Most of the film’s characterizations rely on appearance rather than dialogue, but with such adorable and funky characters. That’s a winning strategy by the film’s two directors: Enrico Audenino and Francesco Calabrese.

Freeze frames and voice-overs are the techniques most frequently utilized during the film`s duration, and they both fit in the overall theme of the film, which is undoubtedly Coming-of-Age but with a funky twist. It’s not just growing up experiences; the intergenerational friendship (explored in other Rite-of-Passage comedies such as Theodore Melfi’s 2014 film, St. Vincent or the 2008 film Is Anybody There?) is also essential for the film`s narrative, making it much more enjoyable than American Pie (to name a potential American counterpart).

The film’s protagonists are quite eccentric and, although Andrea narrates the story, it’s the little Michael Jackson fanatic, Tommaso, who is always in the middle of the action. Tommaso Neri does a great job attaining the sympathy of the viewers in his role.

One of the best Indie flicks I have seen of late, Maicol Jecson exceeded my expectations and earned a high recommendation to the readers of theskykid.com.

Official trailer

Maicol Jecson (2014)

In short

A Coming-of-Age wonderful, bizarre and original story that is one of the best Indie flicks I have seen/reviewed of late. Highly recommended!

Character/Acting

Score/Soundtrack

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Storyline/Screenplay

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Reader Rating0 Votes

4.5

Our rating

Get the DVD

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A Belgian film, based on a story adapted from a Spanish graphic novel (Dream Team by Mario Torrecillas and Artur Laperla), Of Love and Lies (original title:  Fourmi), is an intriguing sports-themed Coming-of-Age film with a strong emphasis on a father-son relationship.

In it, Théo is a 12-year-old boy with an unyielding passion for soccer. He is a talented player, a real prodigy behind the ball, so it doesn’t surprise when his coach reveals that a talent scout of the English premium league club Arsenal is coming to take a look at the young boy’s play. The news excites Théo’s father, Laurent, who has lost his track in life, falling into a self-destructive spiral of alcoholism and unemployment after a divorce that has left him with only rare chances to watch his son’s play.

When the talent scout finally shows up, Laurent is overwhelmed with excitement. Theo sees a spark of hope and redemption rekindled in his father that he had not seen for a long time. Unfortunately, despite his skills behind the ball, the boy is informed that his short height makes it impossible to be selected to train at Arsenal. Not wanting to disappoint his father, Théo decides to make up a lie and pretend that he was selected. A seemingly harmless lie, but one that would lead to unintended and dire consequences.

Of Love and Lies is not the first Coming-of-Age film in which the story revolves around soccer. The father-son relationship is not so different than that explored in the Belgian 2005 film Buitenspel (also known as Gilles). Yet, the story highlights the dramatic aspect of growing up – unlike the light-hearted comedy approach in Kicking And Screaming (2005). The score and cinematography enhance the narrative but do not call attention to themselves, as is the case with the German flick Teufelskicker (2010). In Love and Lies, soccer has more of a backdrop role, and it is the characters and their story that capture one’s attention.

One could not help but notice a few motifs that frequently appear in Coming-of-Age narratives, such as dysfunctional families, separated parents, a father who has issues with alcohol and a father-son relationship.

The film’s real highlight is the excellent casting and especially the heartfelt performance of Maleaume Paquin as the young Théo. Observing his expressive and nuanced performance on screen, one could sense his character’s passion for sport and the love and affection he feels towards his father (portrayed equally well by François Damiens). In supporting roles, Pierre Gommé as Théo’ s techie friend Max and Cassiopée Mayance as his best friend Romane, also deserve mention.

Of Love and Lies is a feel-good family film that is guaranteed to inspire and touch viewers of all ages.

Of Love and Lies Trailer

[imdb]https://www.imdb.com/title/tt9767556/reference[/imdb]

Of Love and Lies (2019)

In short

Of Love and Lies is a feel-good family film that is guaranteed to inspire and touch viewers of all ages.

Character/Acting

Score/Soundtrack

Cinematography

Storyline/Screenplay

Production

Direction

Reader Rating1 Votes

4

Our rating

Get the DVD at Amazon.com

DVD