Star Boys (2017)

If one decides to watch a Coming-of-Age film, a movie from the Nordic countries usually guarantees the story will portray that important period in anyone’s life as realistically as possible. The 2017 movie Star Boys (Original title: Kaiken se kestää) is no exception and juxtaposes the peculiarities of the adult world with the inexperience/innocence of childhood.

Set in a remote conservative town in northern Finland, the film’s story is told through the eyes of two Finnish boys forced to observe the rather shameful behavior of their parents during the years of urbanization and the sexual revolution at the beginning of the 1970s.

For the most part, Star Boys plays like a family drama. However, it gets disturbing at times, and the viewer witnesses the shock (and even disgust) of 13-year-old Vesa (Vili Saarela) and his best friend Kaarlo (Olavi Angervo) towards the intrigues, obsessions, and overall recklessness of the adults who surround them.

There are no surprising plot twists or overly dramatic sequences. Instead, the filmmakers have opted to tell the story by approaching adult problems from a child’s point of view. This is not an unheard of methodology. For example this sincere, true-to-life approach to storytelling can also be observed in the 2013 Coming-of-Age Finnish movie, Above Dark Waters. Such an approach offers a duality to the film, allowing it to be equally appreciated by people who are after a serious family drama and those looking for a Coming-of-Age narrative.

Rebellion, friendship, confusion and the inevitable loss of one’s innocence – all motifs one expects to see in a rite-of-passage film — are present in Star Boys as well. Vili Saarela and Olavi Angervo do a good job portraying the young leads of the film and it was interesting to observe how they matured as a result of their experiences.

Trailer

The film’s cinematography impresses, as aesthetically the film is quite pleasant. One can’t help but notice the allegory of the usage of such images as the flowing of water to symbolize inevitable change. Yet, in the end, while the story manages to capture one’s attention, I wouldn’t go as far as to say that it is able to wholly engage. As a critique of adult society, the story of Star Boys serves as a reminder that one’s actions and life choices are observed, yet thankfully not necessarily mirrored, by our offspring.

http://www.imdb.com/title/tt5716438/

Star Boys (2017)

Summary

Rebellion, friendship, confusion and the inevitable loss of one's innocence – all motifs one expects to see in a rite-of-passage film -- are present in Star Boys.

3.3

Our rating

The Strange Ones (2017)

A few years ago (2011), I stumbled upon a short film with a peculiar title, The Strange Ones (Deux inconnus). It piqued my interest (as mentioned in that review published on this site), but unfortunately, its 14 minutes failed to engage. Converted into a full feature film in 2017, the extended time for the story and character development made a huge difference.

The central premise remains the same: a young man and boy make their way across rural America. They encounter various characters and, through their interaction with them and each other, the viewer gets small snippets of information hinting that not everything is what it appears to be at first glance.

Alex Pettyfer and James Freedson-Jackson in The Strange Ones (2017) — James Freedson-Jackson and Alex Pettyfer in The Strange Ones (2017)

While the action develops at a relatively slow pace, the storytelling results in a viewing experience similar to solving a puzzle, relying on clues to construct the characters’ backgrounds and understand the motives behind their actions and behaviour. The extended time provided in the full-length version allows for the complexity of both story and characters to be fully realized, which, unlike with the short film format, engages the viewer to a much greater extent.

The resulting intriguing mix of drama, thriller, and mystery includes significant Coming-of-Age overtones, thanks primarily to the stellar performance of actor James Freedson Jackson in the role of the young teenage boy — who is essentially the main protagonist of the film. His excellent performance was authentic in the 2015 American movie Cop Car, but the plot complexity of The Strange Ones allowed him to extend his potential fully. As a result, his character appears quietly vulnerable yet determined when the need arises.

The Strange Ones Trailer

Aside from the acting, the lack of definite judgments and the fact that the story and characters remain ambiguous enough to offer the viewer room for interpretations and personal reflection contribute greatly to the movie’s overall appeal. This is evident even if, at the ending (the real one happened some moments before the one at the end of the film — at least according to me), the directors went ahead and offered an alternative finale — avoiding clichés and stereotypes as far as the narrative is concerned.

The dream-like cinematography features some stunning lingering shots of nature, the main characters and the environment, which gives the film its unique visual atmosphere, further enhanced by the frequent usage of reappearing visual motifs.

Unlike the short feature on which the film is based, Christopher Radcliff and Lauren Wolkstein turned their full feature into an engaging film with the correct dose of controversy and ambiguity. Offering a challenging enigma, it’s well worth your time. The Strange Ones (2017) earns a high recommendation from me.

http://www.imdb.com/title/tt6014904/reference

The Strange Ones (2017)

Summary

Unlike the short feature film on which this film is based, this full length feature version is an engaging movie with the right dose of controversy and ambiguity. Highly recommended!

4.8

Our rating

The Girl Next Door (2007)

Adapted from a book by Jack Ketchum, The Girl Next Door is one the harshest films that I have ever seen.

Although the storyline undoubtedly features a Coming-of-Age narrative, the events that unfold on screen are so horrifically disturbing, that alongside sympathizing with the lead male protagonist (Daniel Manche) through whose eyes the story is being told, one is almost guaranteed to constantly feel a sense of anger, anguish and quite possibly disgust.

This makes the film tough to watch and unsuitable for very young audiences.

David Moran (Daniel Manche) trough whose eyes the story is told — David Moran (Daniel Manche) through whose eyes the story is told

It disturbs me that I was originally thinking of focusing on Daniel Manche’s unique voice in my review, as the first scenes had me convinced that the film I was about to see would feature a stereotypical narrative about first love, filled with silly awkward moments. I could have not been more wrong – and though the story turned out to be disturbing (Stephen King called the film “…This is the Dark Side of the Moon version of Stand by Me“), no one is able to dispute its originality or its ability to engage the viewer. The only film that comes close is Bill Paxton’s 2001 film Frailty as, despite the differences in the narrative, both are truly impactful and share a similar director’s approach and overall cinematographic style.

Some viewers may be shocked by the lack of an adequate reaction to what they see from many of the film’s protagonists. This is particularly true of Daniel Manche’s character, but when one considers his young age and apparent innocence (which was robbed from him as result of the things he witnessed), his behavior starts making sense. The experiences he has as a boy greatly influence the person he becomes as a man as is evidenced from the film’s beginning to its finale.

While not a typical first-love Coming-of-Age film, The Girl Next Door is a film about love – albeit a tragic one. People say true love is always tragic – which I can vouch for based on my real-life experiences (as unorthodox as they might be). The Girl Next Door’s narrative is beautiful, yet it is not easy to focus on higher ideals considering the excessive violence and cruelty on screen. The filmmakers have not spared viewers, and many gruesome details are there to observe. Knowing that the film is based on a true story (Sylvia Likens) and that it’s not implausible that similar events are happening behind closed doors in an otherwise idyllically looking neighborhood makes the story even more stomach-turning.

I don’t hesitate to recommend the film, as disturbing as it is. Just bear in mind its R rating.

http://www.imdb.com/title/tt0830558/reference

The Girl Next Door (2007)

Summary

While not a typical first-love Coming-of-Age film, The Girl Next Door is a film about love – albeit a tragic one.

5

Our rating

Amazon

DVD

Together (2009)

TOGETHER, (aka SAMMEN), from left: Fridtjov Saheim, Evy Kasseth Rosten, Odin Waage, 2009. ©Sandrew Metronome

The best films are the ones that make their audiences care deeply about the protagonists and their fate. To achieve that, not only must the story be dramatic, but the actors also have to do their job convincingly enough so that one can stop being a passive observer, experiencing the characters’ sorrows and joys. All that is true of the 2009 Norwegian Coming-of-Age family drama, Together (Original title: Sammen).

The film’s plot and its development doesn’t offer much in terms of originality: a family is suddenly torn apart from a horrific disaster which takes away the life of one parent and leaves the surviving one and the teenage son trying to piece together their shattered lives.

Together is an archetypal Coming-of-Age narrative with a strong focus on grief and post-traumatic disorder. In many aspects, its story line follows the same pattern such as films like the Dutch flicks Life According to Nino and Finn, or the American drama The Stone Boy. Yet even when one knows what to expect, the portrayal of a young boy struggling with his own pain, and the weakness of the remaining parent who is ready to give up life, makes it impossible for one not to become emotionally involved with the story.

Odin Waage and Fridtjov Såheim in Together (2009)

Much of this involvement comes as the result of the convincing and moving portrayal of Rojer (the father played by Fridtjov Såheim) and his twelve-year-old son Paul (Odin Waage). The improvisation is almost non-existent, yet the direction is capable enough of stirring the audience’s emotions – at times overplaying the melodramatic card. Odin Waage’s understanding of his character and the difficult situations in which he finds himself, really shows in the convincing way he portrays Paul’s confusion, sadness and anger. As this role in Together was the film debut for the young actor, it’s evident that he is more than able to follow direction while making the audience care about his character.

TOGETHER, (aka SAMMEN), Odin Waage (center), 2009. ©Sandrew Metronome Norge — TOGETHER, (aka SAMMEN), Odin Waage (center), 2009. ©Sandrew Metronome

When it comes to cinematography, I have no major complains other than the excess of what appeared to be hand-held camera footage. Yes, it boosts the realism a bit, but often I found myself wishing that the camera was more stable — leaving the tension to arise on its own. Yet, while it takes a while for the audience to become emotionally invested with the story, once when this happens the film is fully capable of holding its attention.

An open-ended finale usually comes as an unpleasant surprise in most films, yet in Together‘s case, many viewers are likely to feel as emotionally exhausted as the film’s protagonists. Whether that’s a desired effect, from watching/experiencing a story, is a subjective thing. It did motivate me to start writing this review, hoping that it may help people discover the film.

Norwegian Trailer

The DVD features English subtitles and is available at Amazon UK.

http://www.imdb.com/title/tt1324056/combined

Together (2009)

Summary

A family is suddenly torn apart from a horrific disaster which takes away the life of one parent and leaves the surviving one and the teenage son trying to piece together their shattered lives.

3.7

Our rating

Where to find it

DVD at Amazon.UK

The Other (1972)

I am excited about reviewing the 1972 film by Robert Mulligan – The Other. Some people are not fond of films released more than ten years ago. In this case, I can assure you that if you didn’t know the year it was made in advance of watching the film — with its excellent camerawork and good cinematography — you wouldn’t be able to date this flick.

Continue

The Other (1972)

Summary

The Other is a compelling, shocking and entertaining film that won't leave anyone indifferent. Highly recommended!

Character/Acting

Score/Soundtrack

Cinematography

Storyline/Screenplay

Production

Direction

Reader Rating1 Vote

4.7

Our rating

Northern Borders (2013)

The appeal of Jay Craven‘s 2013 flick Northern Borders is undoubtedly the quirkiness of its characters and the immense amount of wisdom and number of life lessons aimed at its lead protagonist (and towards the viewers). Ten-year-old Austin Kittredge (played by Seamus Davey-Fitzpatrick) is sent by his father to meet his grandparents, who happen to be quite the eccentric farming couple living in the wilderness of Vermont. Seamus, of course, also starred in Wes Anderson‘s Moonrise Kingdom, yet is mostly known for portraying the antichrist in the classic horror flick, The Omen, back in 2006.

Austin (Seamus Davey-Fitzpatrick) meets his grandgather Austin Kittredge Sr.(Bruce Dern) — Austin (Seamus Davey-Fitzpatrick) meets his grandfather, Austin Kittredge Sr. (Bruce Dern)

A city boy, young Austin has some adjustments to make: in the house, in the woods and even in the school, in all of which he finds himself in unfamiliar situations. He acquires new skills such as firing a gun, removing chicken dung, and finally, yet importantly, dealing with people from all occupations. Observe, adapt, react – Austin’s experiences make Northern Border a Coming-of-Age flick. The developments in the story are rather subtle and mostly directly related to the Austin’s maturation. Unfortunately, the film’s slow pace may result in some viewers deciding that nothing really happens – as not everyone will be captivated by the eccentricity of this heavily character driven narrative.

To others (and here I include myself), Seamus Davey-Fitzpatrick’s performance is enough to justify seeing the film, or at least if focusing on it one may forgive the somewhat confusing way in which the story develops. Even so, I was able to see the whole of the film on my second attempt.

Northern Border may also appeal to people who have spent time in New England (I went to a boarding school in Maine), as it nicely captures the changing beauty of the region. Yet a majority of young viewers are likely to be bored, as the way the story is told requires significant life-experience, patience and even determination to be wholely appreciated.

For the above reasons, while I got some wisdom out the narrative, I hesitate to recommend the film.

http://www.imdb.com/title/tt2316810/

Northern Borders (2013)

Summary

A young boy is sent by his father to meet his grandparents, who happen to be quite the eccentric farming couple living in the wilderness of Vermont.

3

Our rating

Watch, Northern Borders now

Amazon Video

The Weapon (1956)

The plot of Val Guest‘s 1956 film The Weapon (a young boy finds a gun, shoots a friend by accident and, scared, runs away while the police and the US army seek him out), is not very original – yet one can appreciate the classic thriller story development in which the action builds to a dramatic and intense finale. Naturally I decided to watch the film, after recognizing its young lead, hoping that The Weapon’s story-line would feature Coming-of-Age nuances. But, alas, those expectations were not fully met.

The screen time of the young protagonist is extremely limited, although Jon Whiteley manages to portray well the vulnerability, terror and confusion that his role requires. In that respect, it’s beneficial for fans of Coming-of-Age cinema to see Whiteley in Philip Leacock‘s The Spanish Gardener, for his acting really had a chance to brightly shine in that film (after all, by age 11, Jon Whiteley had twice won Oscars).

Otherwise, the cinematography is good for the year in which the film is released (1956). There are stark contrasts between light and dark settings, emphasizing the inner world of its protagonists. Additionally, the fact that the film was shot almost entirely on the streets of London give the action a bit more authenticity. But, in the end, despite an enticing film poster, and even with the acting of Jon Whiteley, I don’t recommend The Weapon to the Coming-of-Age affectionate.

http://www.imdb.com/title/tt0051184/combined

The Weapon (1956)

Summary

A young boy finds a gun, shoots a friend by accident and, scared, runs away while the police and the US army seek him out.

2.4

OUR RATING

The Babysitter (2017)

If you are a fourteen-year-old or know anyone around that age, the Netflix 2017 film, The Babysitter, is a must-see — especially around Halloween.

It offers a bizarre mixture of genres: Coming-of-Age, drama, comedy and horror. Think Private Lessons ( 1981) /Secret World (1969) on steroids, with a tint of Final Destination mixed in (American horror franchise) and then add to the mix the eccentricity of the Whimpy Kid series. One shouldn’t be surprised that the film is filled with references to genre films, where some of its appeal lies.

OK. The Babysitter is not a film that can change one’s life. Mostly it’s a timewaster. Yet it’s an original and an entertaining one that even gets extra points for its wicked storyline – and for an adorable, sympathetic and easy to associate with central character — 12-year-old Cole (Judah Lewis).

Plus the action is set in modern days – and I must admit that it feels quite funky to see a hormone-ridden teenager with an innocent face type “Orgy” in Google to find the meaning of the ahmm….term. It’s not possible to dig deep into the storyline without spoiling the film. But it turns out to include an unexpected and bizarre turn of events provoked by the curiosity of the 12-year-old Cole — who decides to spy on his incredibly hot and sexy babysitter, Bee (Samara Weaving).

The events of one evening take an unexpected turn for the worst for a young boy trying to spy on his babysitter. — The events of one evening takes an unexpected turn for the worst for a young boy trying to spy on his babysitter.

Teenagers will like the film for the many references to what it is to be a teenager and the fast-pace with which the action develops. Same goes for the film’s musical score which is just wicked (there is even a song by Queen in it). Unlike the storyline, the characters are as clichéd as they could be, but that’s fully intentional and it works to good effect.

As a Coming-of-Age flick, The Babysitter includes a lot of themes typical of the genre: bullying, sexual curiosity, first love, loss of one’s innocence, fears (and ways of overcoming them — or not). Yet all of those are addressed in an unorthodox way that may appeal to a young audience and shock their elders.

I don’t hesitate to recommend The Babysitter. It might be a time-waster, but it’s a funky one.

http://www.imdb.com/title/tt4225622/combined

The Babysitter (2017)

Summary

A film with themes that may appeal to a young audience and shock their elders.

3.7

Our rating

Kain Rivers: The Boy with Three Names

I’m sure there’s some perfectly logical reason this young Russian singer has used three different names in the last two years! I can’t find it.

Using his latest pseudonym, Kain Rivers, this mostly blond, slim young Russian boy has been posting photos and videos on VK.com, even showing us his apartment, which seems to have security alarms all over.

/update Sep.2020 – Kirill Dmitrievich Rogovets-Zakon, also known by his stage name Kain Rivers (Russian: Кирилл Дмитриевич Роговец-Закон; born 25 June 2004) is a Ukrainian-Russian singer/

But then maybe he’s Ukrainian, and the alarm sounds in his video are emanating from his mobile. He is one of a whole new Renaissance of young artists from Russia, although not from the Ecole group.

This teen has his own YouTube channel and has been adding material to it. He also seems to be involved in fashion. He’s on Instagram, Facebook, Twitter, OK, and Telegram, many of which have been dormant for months.

So let’s work back from the present and discover who’s behind the charade.

After seemingly touring to the Rhein and Italy, Kain posted a rather fanciful video in which he is a small person in a giant, sometimes the upside-down world. This is fascinating to start, but the tune is fairly laid-back, and the visual gets repetitive. It’s fun, but a video using the images collected on the route, which I had expected, did not appear.

Following up a lead, I discovered Dmitry Zakon, who seems to have international connections. Is he the producer behind the recent Kain videos? And the reason the second Kain name (Kirill Rogovets) suddenly changed to “Rogovets-Zakon” in August? Mysterious.

An entirely different presentation of Kain can be seen published on August 17, 2017, in which a classical, pure white world houses Kain singing sweetly in an enchanting ‘choir boy’ trilling treble. The melodramatic moves and portraits focus only on Kain, but since the language is foreign to me, I can only wonder what this is about (as usual, no English explanations).

A song called Mope (pronounced more) is shown as a bright, joyful, carefree video with an open sea and much sun, with a fun Caribbean style.

In a live TV performance earlier in May 2017 at a benefit concert (1+1 TV), Kain, this time called Kyrylo Cherpita, sings White Horses, a song I much enjoyed. What I liked here is Kain’s flawless presentation and his stunning range changes — from very tender falsetto to a raunchy, blues-type voice. I love the confidence and courage here, on national TV, and in front of a vast audience, perfectly at ease delivering this.

But then performing seems to motivate him, as in the 2016 VOICE competition where he also appeared nationwide, reaching the semi-finals. Another amazing young Russian singer, Ivan Iastrebov, won it but appeared not to have followed up his success on social media.

Still, as Kyrylo Cherpita (Кирилл Черпита), Kain sings Chandelier, giving us the chance to compare him to the awesome Gregory. His natural voice is strong here. Indeed, only the important sustained falsetto parts are less impressive than Dolgolenko. The ability to act out a song is another plus for Kain, who presents this with different tonal passages.

When I hear this fairly diminutive young boy perform on stage, I am surprised by the power he can generate.

Appearing on My3 TV, Kain sings Impossible with style. But an even better example is Its a Man’s World (2-Oct-2016 – The Voice-Blind Audition), showing off his incredible ability to interpret and slip into different voices.

In July, Kain sang Mope’ again, live, at the VK FEST 2017, and once again, we see what a promising performer he has already become. Finally, you should see The VOICE trio singing Loshadi, from which Kain advanced to the semis (2.3 million views/October 2017).

By whatever name you call him (or he calls himself), he’s a kid to watch for in the future. I wish him luck.

/update – 26.04.2021 – All the clips have been removed from the official YouTube channel of Kain Rivers. We have replaced what we could with clips hosted elsewhere.

The Buddy System (1984)

The Buddy System (1984) is an American film that mixes elements of romance, drama, comedy, and rite-of-passage experiences in an alluring manner. While its story doesn’t shine with originality, most of the dialogue is funky and witty, making the film entertaining. So much so that some scenes just have to be seen more than once and appear even funnier with each consecutive watch.

The movie follows the story of Emily (Susan Sarandon), a single mother who forms an unlikely friendship with her son’s school security guard. Her son, Tim (played really well by Wil Wheaton, in his debut role in cinema), has no friends and has never seen his father. But Tim manages to impress and consequently befriend the security guard at his school, and his experiences are what provide the film with its Coming-of-Age overtones.

Tim (Wil Wheaton) in The Buddy System (1984)

One cannot deny that the film appears a bit dated, but the 80’s feel, costumes and props induce a nostalgic vibe that only enhances the story by capturing the innocence of the past. The film is well directed and never gets boring despite the rather slow development of its narrative.

Tim (Wil Wheaton) and his mother Emily (Susan Sarandon) in The Buddy System (1984). The 80`s spirit can felt in many of the film`s scenes — Tim (Wil Wheaton) and his mother Emily (Susan Sarandon) in The Buddy System (1984). The 80`s spirit can be felt in many of the film’s scenes

Unfortunately, its second part (which comes almost an hour into the film’s length of two hours) is more concerned with the adult characters trying to figure out their lives and selves, thus providing less screen time for Wil Wheaton. But then, if one subscribes to the notion of Coming-of-Age as a lifelong process, enjoyment still can be derived (everyone grows up – except one boy).

Fans of the Coming-of-Age genre will also enjoy seeing Wil Wheaton’s debut role in cinema. Most, of course, have undoubtedly seen Wil in the classic film adaptation of Stephen King’s short story The Body called Stand By Me, which was released two years after this film, in 1986.

The Buddy System explores the nature of love, friendship, and interpersonal relationships complicated nature. This is not a typical Coming-of-Age film, but it has strong rite-of-passage influences and a talented young actor in one of its central roles. A heartwarming, likable little film – well worth one’s attention.

http://www.imdb.com/title/tt0087006/combined

The Buddy System (1984)

Conclusion

The Buddy System is a heartwarming, likable little film with Wil Wheaton in one of its central roles.

4

OUR RATING

Mommy’s Little Boy (2017 TV Movie)

Mommy’s Little Boy is a Canadian television movie which mixes in murder, bullying, violence, neglect and lost of innocence. The story revolves around Briana (Bree Williamson), a single mother, and her two sons Eric (Peter DaCunha) and his half-brother Max (Auden Larrat). Briana does not treat her sons equally and, when her favorite (for she clearly has a favorite) dies in a tragic accident, she falls into a state of madness (aided by booze and drugs) and commits a fatal crime…

The tension continues to build until the finale when the story becomes cliché ridden (both in terms of stereotypical characters and development) and predictable. But the film still manages to both intrigue and entertain its viewers.

Most of the enjoyment is derived from the acting performance of Peter DaCunha as Eric, who manages to portray, in a touching manner, the internal turmoil and confusion of a young boy who struggles for acceptance and approval. Eric is supposed to appear vulnerable in some scenes and decisive in others, with a touch of silent madness due to the rather unusual family dynamics at his home. DaCunha delivers the dialogue with an intriguing accent, which further boosts the adorableness of his character. It is almost guaranteed that most viewers will be able to either associate or care about Eric – and that’s an achievement on its own.

Peter DaCunha as Eric in Mommy’s Little Boy

Some television movies are made so well that “television” just becomes a label. But that’s not the case with Mommy’s Little Boy. Some of the editing (especially the rapid cuts) and camerawork give away that it was shot on a relatively limited budget. It is not something that could ruin one’s viewing experience per se, but it does affect the story believability at times and it’s definitely noticeable. Still, the overall strong Coming-of-Age nature of the story and Eric’s sympathetic and complex character makes the film well worth watching.

http://www.imdb.com/title/tt5769006/combined

Mommy’s Little Boy (2017 TV Movie)

In short

A made for TV movie that manages to both intrigue and entertain its viewers.

3

Our rating

Playground (2016)

The Polish film Playground (original title Plac zabaw) made it into the official selection of many festivals, such those in San Sebastian and Warsaw. Its trailer is intriguing enough to raise one’s interest. A European film with a story set in the present day, with some controversy mixed in, is the kind of movie I tend to enjoy and write rave reviews about. Yet, despite my high expectations, this film fails to truly engage.

For most of the film’s duration we are introduced to its protagonists: the 12-year-old boys Czarek (Przemyslaw Balinski) and Szymek (Nicolas Przygodaand) and a girl Gabrysia (Michalina Swistun). In separate sequences, opening with a title announcing their names, we are shown their daily lives – at school and at home. But this characterization falls short of really involving the viewer with any of them.

Czarek (Przemyslaw Balinski) and Szymek (Nicolas Przygodaand)

Another letdown was the familiarity of the story and, therefore its predictability. While the central theme of the film revolves around bullying in its first part, in the second the film’s focus shifts into not much more than a dramatization of the Jon Venables and Robert Thompson criminal case, as if completely lifted from the court records. If you happen to have heard of the case – you know what is going to happen.

A good dramatization of a criminal case involving youth is not necessarily a bad thing (for example, the Court TV drama The Interrogation of Michael Crowe is a real masterpiece). But in the case of Playground the filmmakers could not decide what to focus on, consequently failing to portray bullying well (unlike the 2010 film from Denmark, My Best Enemy) or to be a good adaptation of a real-life criminal case.

Admittedly the finale is distressing and the usage of art-house cinema techniques (such as the way the story is split into parts, the usage of metaphors and symbols and the alternate shooting style and editing) could appeal to some viewers, yet overall as a Coming-of-Age film Playground is neither here nor there.

Any event in the film is a reality and a reflection of reality, but an artistic one. What is there to argue about? But for artistry, you need an artist, an author. In Playground, he is not present.

http://www.imdb.com/title/tt6094760/combined

Playground (2016)

Conclusion

Playground follows a pre-teen girl, her crush, and his best friend as they go through their relatively uneventful lives. But it's a shocking, tumultuous finale that is the all the talk about this film.

2.5

OUR RATING

Available at :

Amazon

TheSkyKid.com

TheSKyKid.com

Star Boys (2017)

The Strange Ones (2017)

The Girl Next Door (2007)

Together (2009)

The Other (1972)

Northern Borders (2013)

The Weapon (1956)

The Babysitter (2017)

Kain Rivers: The Boy with Three Names

The Buddy System (1984)

Mommy’s Little Boy (2017 TV Movie)

Playground (2016)