The Liverpool Goalie (2010)

If one judges a movie by its title, the 2010 Norwegian film by Arild Andresen, The Liverpool Goalie, could be easily mistaken for a sports-oriented flick. You know the kind: Carlitos and the Chance of a Lifetime, Devil’s Kickers, Kicking and Screaming, and Believe are just a few of the many sports films the Coming-of-Age genre is so rich with.

So yes, titles can be misleading, but only slightly so in the case of The Liverpool Goalie. The sports motif is present but is not pivotal for the film’s storyline. Based upon a novel by the Norwegian author Lars Maehle (who has authored a number of books for children, both fiction and nonfiction), The Liverpool Goalie tells the story of 13-year-old Jo (Ask von der Hagen).

Jo is an introverted kid, shy (and slightly wimpy) with a vivid imagination — navigating through the peculiar world of middle school (where bullies lurk) and home (run by a single and ever working mom). To make things more complicated, a new girl, Mari (played by Susanne Boucher), joins Jo’s class and, thanks to her beauty and intellect, he falls madly in love with her. First loves are the strongest, or so they say.

I have rarely seen such a quirky character as the young protagonist of The Liverpool Goalie. His mom’s constant worries have rubbed off on him, and he spends a lot of his time imagining a zillion possible outcomes of his decisions or actions that may end his youthful life in a gruesome manner. His fantasies – ingeniously portrayed on screen as sequences of possible happenings and narrated in the first-person by him — provide for great comedy relief, even if most of the humor is black and poor Jo’s fear and anxiety shine through. To avoid trouble, Jo has agreed to do a classmate’s homework, a classmate who uses his superior physique to intimidate the already very daunted boy. And when Mari joins his class… things go completely out of control.

On several occasions I have praised Scandinavian filmmakers for their ingenious ways of portraying youthful life (most recently in the review of the 2002 film from Finland Changes/Muutoksii). The Liverpool Goalie is no exception. Having previously demonstrated his ability to direct young actors in the 2006 TV Series Gutta Boys (highly recommended for any fan of the Coming-of-Age genre), Andresen’s directing is still quite refreshing, helping a young cast deliver natural performances, as opposed to the over-rehearsed and stilted ones that plague many films featuring young, amateur actors.

Life can be so embarrassing (Susanne Boucher and Ask van der Hagen in The Liverpool Goalie)

And yet, while the acting is excellent, it’s the visual effects and the editing that makes The Liverpool Goalie an absolute joy to watch. From the very first scene (and even during the opening credits), one is exposed to an original, brightly colored, and energetic manner of storytelling. It might be dark humor with a tint of sarcasm, yet the viewer will hardly be able to wipe a smile off his face once the story gets going.

A story as quirky as its protagonist, yet terrific in showcasing the inner world of an adolescent boy. To some viewers, Jo’s fantasies and ideas about life might seem a bit wicked and funky, but most people will probably recall having similar thoughts at that age (nostalgia striking back). Or, if the viewer is younger (it’s a kid-oriented film after all), he will probably identify with like situations in his own life.

First-love, friendship, bullying, self-acceptance, and respect are characteristics of many Coming-of-Age films. But, fear not. The Liverpool Goalie lacks clichés and is great fun to watch.

There are some serious issues below the light-hearted surface of the film, making it suitable for older audiences who may choose to focus on them, in addition to laughing their heads off at the funky scenes. But that’s optional, ensuring everyone will find something to enjoy in Arild Andresen’s movie. The Liverpool Goalie may not be preachy or overly concerned with realism (though, from what I’ve seen, the life of some Norwegian kids may be exactly as shown). Still, it delivers fun and a refreshing cinematic experience.

http://www.imdb.com/title/tt1488574/combined

The Liverpool Goalie (2010)

CONCLUSION

First-love, friendship, bullying, self-acceptance and respect, The Liverpool Goalie shares the characteristics of many Coming-of-Age films, but without clichés. A fun filled, refreshing cinematic experience.

4.6

OUR RATING

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Changes (2014)

If you want to feel the pulse of modern youth, Scandinavian cinema is the way to go. These movies feature upbeat music scores in line with what today’s young people are really listening to, new creative camerawork (increasingly drones are being used as a cinematic tool) and all-around talented child actors. For the latter, often amateurs with no previous acting experience can be viewed delivering natural, true-to-life performances.

All of these characteristics perfectly describe the 2014 Coming-of-Age film from Finland directed by Sami Laitinen called Changes (Original title: Muutoksii).

The plot focuses on the relationship between two 12-year-old boys: Antti (Tiitus Rantala) and his best friend Muhis (Sami Hussein), a Muslim, black kid of Somalian origins. But their friendship is about to be challenged after a life-threatening accident turns their world upside-down.

The narrative in Changes touches on topics such as bullying, racism, individualism vs group mentality and self-acceptance. The film reminds one of the narratives of other flicks such as Shane Meadows‘s This Is England and Ruben Östlund‘s Play. Although released in 2014, the themes addressed in Changes feel current – appropriate to the increasingly multicultural, yet hardly tolerant, nature of many European cities nowadays.

Hanging out – sometimes one needs a helpful hand / Changes (2014) — Hanging out – sometimes one needs a helpful hand / Changes

The best characteristic of the story is that is shows the world through the perspective of Antti, thus allowing the viewer an insightful look into Finish youth and their aspirations (which after all are not that different from those of the youth of any other country). Antti is forced to make numerous moral and ethical choices. His character is well developed and the filmmakers have managed to invoke empathy with him.

Unfortunately, despite its excellent opening and intriguing story, during the last 30 minutes of the film the poignant and true-to-life narrative somehow transforms into cheesy nonsense. The story’s final resolution is so weak and meaningless that it makes one wonder if all of a sudden the filmmakers got scared of potentially losing their pre-teen audiences by having an acute, realistic finale. A hijacked bus and hot pursuit may excite some people, but after enjoying a suspenseful and intriguing drama, I found the sudden mood swing to be very insulting.

http://www.imdb.com/title/tt2571764/combined

Changes (2014)

CONCLUSION

A Coming-of-Age story touching on topics such as bullying, racism, individualism vs group mentality and self-acceptance.

Positives

Upbeat Music Score

Well acted

Negatives

Inconsistent quality of the narrative

3.9

OUR RATING

Just a Dream (2002)

A twelve-year-old boy (Jeremy Sumpter) Comes-of-Age (what his father refers to as: “becomes enlighted”), while spending a summer of his young life working in a bar in Danny Glover‘s 2002 American drama – Just a Dream.

I am going to go ahead and compare the experience of watching Just a Dream to enjoying of a good book. I even have a title in mind: The Tender Bar by J.R. Moehringer.

It’s not the swift action or amazing effects that keep one’s attention invested in the story, but rather the character’s interactions, conversations, and thoughts that, in addition to affecting their lives on screen, somehow find a way to sneak into the viewer’s mind. It never ceases to amaze me how much wisdom and life tips one can pick up just by watching Coming-of-Age movies.

Jeremy as Henry Sturbuck in Just A Dream

Just a Dream is not the kind of film that invites a detailed analysis of the camerawork or the overall production qualities. The fact is that one hardly notices technical details. But things must be good if the story ends up well told and intriguing. Yet, when it comes to casting, I must say that not all actors’ performances were first-rate. The most disappointing performances are those of Robby Benson and Ally Sheedy – playing Henry’s parents.

Their acting felt both unnatural and stilted and unless the original idea was to make their characters as awkward as possible, the scenes they appear in are far inferior to any others in the film.

It’s a good thing those scenes are not that frequent, especially compared to those in which Jeremy Sumpter appears, which is just about every scene of the film.

For him, the role of Henry was essentially the first lead role before his stellar portrayal of Peter Pan, after having had supporting roles in the stunning physiological drama Frailty (2001) and Local Boys (2002). When viewing Just a Dream, one can read on his face how the life lessons and experiences that Henry goes through affect his character – a clear indication of the talent of the young actor. The innocence of his personality comes through perfectly. Just a Dream belongs to the Coming-of-Age genre, and Sumter’s performance is so good that the film deserves to be referred to as “a Jeremy Sumter movie”.

It is an excellent film with a real message in its story. Just a Dream deserves to be seen and enjoyed. Recommended!

http://www.imdb.com/title/tt0297221/combined

Just a Dream (2002)

CONCLUSION

An excellent film with a real message in its story, Just a Dream deserves to be seen and enjoyed.

4.1

OUR RATING

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Low Tide (2012)

I read an article in an on-line newspaper in which the columnist refers to the characters in Roberto Minervini’s Low Tide (2012), as “trailer trash”. The article has since disappeared but it provoked me into writing this review about the life of a 12-year old boy (newcomer Daniel Blanchard) and his mother (Melissa McKinney — who, in real life, is Daniel’s sister).

All life is worthy of respect, not just designer kids living in twelve story apartments with wet-wipes. All-of-life, of course, is different as Roberto Minervini the director puts it, “America is the most complicated place in the world when it comes to contradictions. It’s an abyss ready and willing to swallow you up.”

To watch Low Tide is to accompany a 12-year-old boy for 90 minutes, no music, almost no dialogue. Real life events don’t come with artificial sound effects and accompanying music. That is what our imagination is for, an instrument that is used so well in Low Tide – to create an ambiance for our experiences – a fantasy world of things that exist only in our mind, all the time and everywhere.

Daniel Blanchard as The Boy and Melissa McKinney as The Mother, by the sea.

The movie gives us an opportunity to participate in the life of “The Boy” and “The Mother” — not in a voyeuristic way, but as a companion.

The boy wanders around and also does what he believes his duty is. The mother does what she believes she needs to do as well, but with a difference. She is self-aware and needy.

With Low Tide there was no screenplay, just an outline and a cameraman (cinematographer Diego Romero) following them around, sometimes out-of-focus, most of the time very intimate.

Close-up of Daniel Blanchard as The Boy.

I believe Roberto Minervini achieved exactly what he had in mind and the cast and crew improvised with mindfulness and empathy.

In summary, Low Tide left me with a question: Is life with social networking and entertainment served to us on a dish really any better?

We outsource our lives. “The Boy”, and “The Mother” don’t.

The story of a family, for real!

http://www.imdb.com/title/tt2221490/combined

Low Tide (2012)

In short

The story of a real family, Low Tide movie gives us an opportunity to participate in the life of a boy and his mother -- not in a voyeuristic way, but as a companion.

4.5

OUR RATING

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Tom Brown’s Schooldays (2005)

From the novel of renowned author, Thomas Hughes, comes a remarkably powerful story of Victorian England where rugby school dormitories were left to their own devices and new boys were subjected to extreme bullying by the seniors until they had proven their manliness.

Tom Brown’s Schooldays (also known as Tom Brown’s School Days) is a dramatic revelation of what can happen at a school, in this case Rugby School, when a riotous assembly of boys carry arms, play the horses, distil their own alcohol and perpetuate violence as a way of life.

Like many boys of my generation, I grew up in a dormitory and found the movie entertaining and frightening at the same time, because the story is so close to the bone.

At the beginning of the film Tom Brown (Alex Pettyfer) and Dr. Thomas Arnold (Stephen Fry) are new arrivals at Rugby School. From the onset, it is evident that the status quo is about to be challenged by Dr. Thomas Arnold who plans to make some changes to the ‘Rugby Way’ with the use of the combined spirits of a Christian and a Gentleman. Tom Brown arrives with a promise to his father to learn from the strong, protect the weak, stand up to bullies and become a man to be proud of.

Alex Pettyfer as Tom Brown makes a promise to his father to behave like a gentleman.

Dr. Arnold, who believes that little is taught by dispute and everything by sympathy and love, is met with great scepticism by the headmasters of Rugby School. Meanwhile Tom keeps his promise to stand up to bullies by refusing a direct instruction from a senior called Flashman (Joseph Beattie), who promises to make Tom’s time at Rugby school a complete and utter misery.

Joseph Beattie establishes Flashman as a personification of evil.

As the story develops, Tom is systematically broken down by the seniors and he turns into an agitator and a rebel, but Dr. Arnold believes that Tom has all the potential qualities a Rugby man should have — such as courage, decency and fairness.

Stephen Fry as Dr. Arnold towers over Tom Brown but in reality he uses Tom as the instrument for reform.

Dr. Arnold places a newcomer to the school, George Arthur (Harry Lister Smith), into the care of Tom Brown with the hope that Tom would rise to the occasion and protect George. Tom realises that under his protection George Arthur would be given the opportunity for civility not afforded himself, but eventually the combination of resistance against reform and the cruelty against the juniors of the school lead to tragic consequences.

Tragic news is reflected in this scene as a combination of amazement and resolve.

Compared to the Swedish film, (Ondskan) Evil (2013), where passive resistance against the system fails and violence becomes the means to an end, the violence in Tom Brown’s Schooldays serves as a catalyst for reform instead. Little is known about David Moore the director, other than his published filmography, but he did an excellent job with Tom Brown’s Schooldays. The cinematographer, Ryszard Lenczewski, known for movies like Last Resort (2000) and Ida (2013), filmed Tom Brown’s School Days documentary style with handheld camerawork, which gives the movie a great sense of immediacy.

Not all was doom-and-gloom at Rugby. There was lots of fun to be had.

Production designer Tim Hutchinson and costume designer Michael O’Connor derived a remarkably authentic 19th century Victorian England look and feel, usually associated with very expensive productions. An achievement for a TV movie indeed. The composer, John E. Keane, and the editor, Beverly Mills, contributed to the narrative by creating a variation in tempo ranging from drama to frenzy.

Most of the main characters were well established performers except for newcomer Alex Pettyfer who subsequently won an Empire Award for Stormbreaker (2006). It would be safe to say that Tom Brown’s Schooldays launched Alex Pettyfer’s career. Joseph Beattie as Flashman convincingly created a caricature of evil not unlike the character Alex, played by Malcolm McDowell, in A Clockwork Orange (1971). Sensitive viewers might find some of the fighting scenes and bullying quite disturbing and parental guidance is advised.

I felt that some scenes were unrealistic (almost cheesy) and lacked authenticity but, who knows, maybe that’s exactly how some teenagers experience life. The dramatic story of Tom Brown’s Schooldays has been make into six films since 1916, and it’s also worth mentioning that the novel written by Thomas Hughes, inspired J. K. Rowling to write the Harry Potter series, set at the fictional boarding school, Hogwarts.

Tom Brown’s Schooldays is highly recommended viewing for anyone who enjoys boarding school movies or has an interest in social reform. And by the way, yes, they used to talk like that!

http://www.imdb.com/title/tt0415322/combined

Tom Brown's Schooldays (2005)

CONCLUSION

From the novel of the same name, Tom Brown's Schooldays is a remarkably powerful story set in Victorian England.

4.4

OUR RATING

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Paperhouse (1988)

It is all so confusing!

That’s exactly the way I felt as the final credits rolled of Bernard Rose’s 1988 film, Paperhouse! I found myself trying hard to decipher the symbolism of the narrative.

So hard, in fact, that I got tired of it all and wished for the film to finally end, which is not a good sign, and clearly indicated that my cinematic experience was anything but pleasant.

I almost feel bad for disliking a movie that is apparently dedicated as a memoriam of Elliott Spiers, a young British actor who died tragically after having starred in a TV series and a few films – one of them Paperhouse.

Yet I’d rather be honest when reviewing the film than to praise it, as some other reviewers have done, citing “a captivating story, convincing dialogues and good acting”. I didn’t detect any of those and I wonder if the symbolism was a bit too much, or have I somehow completely missed the point of the dark fantasy portrayal central to the story in Paperhouse?

But before I confuse YOU – here is a basic outline of what the film is about:

Charlotte Burke And Elliott Spiers In Paperhouse (1988) — Elliott Spiers and Charlotte Burke In Paperhouse

Eleven-year-old Anna Madden (Charlotte Burke) is an outgoing little girl with a passion for drawing. Somehow everything she draws comes to life in an imaginary world that she visits and experiences in her dreams. In that fantasy world of hers she meets and befriends a disabled boy named Marc (Elliott Spiers), for whom the dream world of Anna is the real one. In her waking hours, Anna discovers that Marc is a real person and, while she has never met him, she feels that she knows him. She believes she could help him by altering the real world with her drawings — drawings that reflect on the imaginary world where she and Marc meet.

Paperhouse Trailer

I believe that the film tried to capture the child’s imagination and deal with issues such as grief, compassion, memories, and friendship. But the narrative is so much open for interpretation that I completely missed its point.

The film’s visuals – suitable for the portrayal of a fantasy world using exaggerated props, unusual angles and shadows — are one of the few things that leaves a positive impression in me. Another one is the musical score, which included some treble (boy choir) performances that gave off an unearthly heavenly appeal to some scenes. I was not impressed with the actors’ performances and I did not identify with or manage to care about any of the film’s characters. However, I’m willing to attribute that to the confusion that this art-house film caused in me.

Unique visual design in Paper House (1988) — Unique visual design in Paperhouse

In essence, Paperhouse is a female Coming-of-Age movie. There is a reason why I predominately review films with male protagonists as I believe that it’s easier for me to process an identification with the character and that allows me to view the world they inhabit (albeit a cinematic one) through their eyes.

But assuming that I didn’t understand the film, on the basis of my lack of understanding of the female psyche, is hardly realistic.

The film critic Roger Ebert rated Paperhouse highly in his own review of the movie, which ends with the following observation:

“This is not a movie to be measured and weighed and plumbed, but to be surrendered to.”

It almost feels like we have watched different movies as, in my case, Paperhouse left me bored and confused. Apparently, somewhere along the way, I refused to surrender. That is why I can’t recommend the film, yet remain interested in hearing what interpretations and impressions other viewers may of have of it.

Paperhouse (1988)

CONCLUSION

A female Coming-of-Age movie that tried hard to capture a child's imagination and deal with issues such as grief, compassion, memories, and friendship, but largely fails to do so.

Character/Acting

Score/Soundtrack

Cinematography

Storyline/Screenplay

Production

Direction

Reader Rating0 Votes

2

OUR RATING

More about the film

IMDB

The Dynamiter (2011)

A comment by Robert Duvall on the Facebook page of The Dynamiter (also known as Summer Time) persuaded me to watch the film.

Duvall said:

“…It was a film where they just took kids off the street. It wasn’t amateur, but it was very rudimentary.”

Two nights later, Duvall saw the original Bonnie and Clyde and couldn’t stand it. He said it was fraudulent, compared to this little teeny movie. That statement of comparison between the two titles convinced me to watch the film for myself.

The Dynamiter is the story of a 15-year-old boy Robbie Hendrick (played by William Ruffin) who lives in a dilapidated house 22 miles outside the town of Greensville, Mississippi, without parents, without means and without hope.

Robbie Hendrick (William Ruffin) and his half-brother Fess Hendrick (John Alex Nunnery)

Robbie’s grandmother (Ciara McMillian) (who doesn’t speak) and his half-brother Fess Hendrick (John Alex Nunnery), live in the house with him, and his older brother Lucas Hendrick (Patrick Rutherford) appears out of nowhere for a visit. Fess, who is still a child, is looked after by Robbie with great care and affection while Lucas and the grandmother have a free ride. Robbie alone labors on and sometimes commits petty crimes for money to be able to afford a few luxuries that many take for granted, such as celebrating one’s own birthday. In a family situation like that, one can only wonder how Robbie keeps going. Maybe it’s the letters he receives from his mother on occasion that makes him believe she might return. Maybe he still believes in himself even though he lives in a town where a name is just a name and no one seems to have an identity.

The Dynamiter Trailer

http://youtu.be/vDB__uz7ZOk

With the motivation, opportunity and means to make a change, Robbie must choose between self-preservation and responsibility.

The movie has a distinctive rural feel to it and one becomes acutely aware of the heat and humidity associated with summertime near the Mississippi river. You can almost feel and smell the heat. The lighting and camera work deserve a special mention. Even though the film was intended to be shot documentary style with a single hand-held camera, the scenes were coherent and well thought out.

John Alex Nunnery and William Ruffin inThe Dynamiter (2011) — William Ruffin and John Alex Nunnery in The Dynamiter

There is no doubt that The Dynamiter was fueled by passion and enthusiasm considering it had a budget of $250,000. The actors and many of the crew worked for free, and all the locations were donated. The director, Matthew Gordon, and the screenwriter, Brad Ingelsby, did an excellent job, as did everyone else associated with the film for that matter.

I felt that the scenes involving bullies were unnecessary and too much of a cliché, but I must say I appreciated the absence of the railway-line-scene that appears in too many Coming-of-Age dramas.

The cinematography and setting create a relaxed atmosphere despite the poverty and suffering portrayed in the film. I never felt lost in hopelessness. Robbie Hendrick personifies the famous English expression:

“When the going gets tough, the tough get going”

– meaning when the situation becomes difficult, the strong will work harder to meet the challenge. There is a lesson in that.

The Dynamiter is a Coming-of-Age drama about brotherhood and spiritual leadership creating hope out of hopelessness and I urge you to see it.

http://www.imdb.com/title/tt1738366/combined

The Dynamiter (2011)

CONCLUSION

The Dynamiter is a coming-of-age drama about brotherhood and spiritual leadership creating hope out of hopelessness.

4.2

OUR RATING

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A Bloody Tale (1969)

The poster artwork of the 1969 Yugoslavian film A Bloody Tale (Original title: Krvava bajka) doesn’t leave much room for interpretation, nor does its title. It’s a film dedicated to the memory of people subjugated to massacre and, as such, it is extremely hard to watch –especially because the story is told from the view point of children.

The narrative is set during 1941, when German forces have occupied Serbia. In cities, men are sent into forced labor, while kids are being dismissed from school, roaming the streets in search for food for themselves or their families — starving with the men folk absent. Despite the mayhem and general confusion, the citizentry of the city of Kragujevac struggle to keep up their existence with as much normality as possible. Weddings and other celebrations are still happening and kids still manage to play and explore.

A group of local boys, led by Piljak (Slobodan Mladenovic), shine the shoes of local residents as a way to make money during the occupation. Yet when the German soldiers decide to take advantage of their services, some of the boys decide to take a stance against the occupation of their city and refuse to service the soldiers. But, for others, their empty bellies play the decisive role.

There are partisan (guerilla) groups fighting the Germans and the actions of one convinces the German officer in charge that an example needs to be made — an example to be made of the men and boys of Kragujevac.

“Does that mean we kill them just because they are Serbs?

Or because they aren’t Germans?”

Despite the year in which the film is made, it doesn’t appear dated and is on par with some of the most recent films with narratives set during World War II such as The Boy in the Striped Pajamas (2008). Naturally, the sets and the props will not be as familiar to the Western viewer as Western produced films, but that only adds to the film’s appeal and the overall cinematic experience. The child cast appears to be comprised largely of first-time actors, but I was not able to detect any forced acting. In fact, there is ample evidence of either capable direction and/or raw natural talent.

The cast is comprised of non-professional actors yet convincing child actors — The film’s protagonists are non-professional, yet convincing child actors

Most of the violence is implied and off screen, but this only heightens one’s anxiety, affecting the mind of the viewer on a subconscious level. I was impressed by the film’s camerawork – as the cinematographer offers a variety of viewing angles: from high vantage points to low ones offering a view of the events through children’s eyes. Tracking shots are frequently utilized while close-up shots, especially one of the film’s final scene, won’t leave anyone indifferent. The film builds up to its finale so effectively that I don’t hesitate to admit that it caused a few tears in my eyes.

Slobodan Mladenovic as Piljak in A Bloody Tale (1969)

While Piljak is the leader of the shoe shining boys, the narrative is not overwhelming concerned with him. The film is therefore not a character study, such as Elem Klimov’s masterpiece Come and See (Idi i smotri). But, on the whole, the Coming-of-Age element is still present and the final scene will convince anyone to that effect.

I have found A Bloody Tale to be an impactful, harsh and well-acted film that I wholeheartedly recommend. My hope is that seeing it will remind people once again that some actions and ideologies should never be repeated.

http://www.imdb.com/title/tt0179927/combined

A Bloody Tale (1969)

CONCLUSION

A Bloody Tale is an impactful, harsh and well-acted film that is wholeheartedly recommended.

4.2

OUR RATING

A Very Serious Person (2006)

Gil, a 13-year-old boy (played by P.J. Verhoest) and his grandmother Mrs. A (Polly Bergen), are traveling to their summerhouse in Manhattan New York, while the housekeeper Betty (Dana Ivey), prepares the house for their arrival.

Mrs. A requires full-time medical care and has had a resident nurse recently dismissed due to incompetence and who now has been replaced by a Danish male nurse Jan (played by Charles Busch, who is also the writer and director of the film).

Betty disapproves of Jan, who is clearly very pedantic, but Mrs. A certainly approves of being handled by him: “It’s the most exciting thing that’s happened to me in years”.

Gil, who loves old movies like Gone with the Wind and listening to records, sees the time he spends with Jan as an opportunity to talk about his interests and passions. Jan admits he is gay while Gil thinks he may also be, yet is unsure about liking boys.

As Mrs. A’s health deteriorates, the frivolity of summertime changes into concern and Gil is faced with the reality that his grandmother might die. Jan teaches Gil about compassion for his grandmother and presents Gil with a perspective on maturity.

How does one prepare a 13-year-old boy without parents for the death of his grandmother?

Charles Busch uses this story to deliver a message of sensibility and mindfulness in the face of loss.

Dana Ivey and Polly Bergen — Polly Bergen and Dana Ivey

A Very Serious Person relies heavily on references to old movies and characters and one scene at a swimming pool reminded me a lot of Death in Venice.

Unfortunately, the actors look like they are performing for a live audience rather than for a camera, but I’m sure that was intended. It does take some getting used to and I wouldn’t be surprised if some viewers consider aspects of this movie as silly or cringeworthy.

There is a one love making scene between Jan and a man he meets at the swimming pool, which could be a concern for some, but it is in good taste and comedic at least.

The movie has a clear message and an ending which is not at all what one would expect. I have always been amused by the keywords associated with movies on the IMDb. Here are a few for A Very Serious Person:

Panamas, ponytail, bicycle, dancing-in-water, and friendship.

OK. Well, a search for ‘friendship’ should give at least a hit for most films ever made. The movie is charming, stylized, fun family entertainment, and not too concerned with representing reality.

A Very Serious Person – Trailer

The camera work reminded me of a famous cinematographer who once said, “These days, all I’m trying to do is not interfere with the actors”. That traditional fade-to-black is used very often and the scenes are short and distinct.

In summary: Through the story of a 13-year-old boy and his love for his dying grandmother, A Very Serious Person tells you something important about sensibility and mindfulness in the face of loss, through the medium of stage on film.

http://www.imdb.com/title/tt0491223/combined

A Very Serious Person (2006)

CONCLUSION

The movie is charming, stylised, fun family entertainment, and not too concerned with representing reality.

3.7

OUR RATING

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Boredom Killer (2011)

Hanging out with friends during those long summer days with nothing to do but pass the time of day, has got to be a universal growing up experience – significant in its insignificance. Writer/Director Julien Paolini decided to use that experience as the premise for his 2011 short film Boredom Killer (original title Tuer l’ennui).

With a narrative inspired by social realism, and touching on issues such as friendship, bullying and acceptance, Boredom Killer tells its story relying entirely on a cast comprised of child actors.

In its opening scene, a gun is shown being buried in the ground by kids’ hands. That image is sure to capture the attention of the viewer from the start. What follows is a first-person narrative by one of the young protagonists featured in the film. He introduces himself, the other kids in the story and the basic premise of the movie. This narrator is not the lead character in the film, however, as it’s not his story that’s its focus. The filmmaker decided to emphasize general childhood experiences, making lead actors out of the entire cast.

So that’s the setting: a lazy summer. Boys hanging out. One day they stumble upon a discarded revolver. From this moment on, the narrative follows Chekhov’s dramatic principle “One must never place a loaded rifle on the stage if it isn’t going to go off.” Curious, the boys try a test shot. It’s a discarded pistol, it should not fire – yet it does. Satisfied, yet scared, they bury the gun. But it won’t stay buried for long….

Boredom Killer’s story is rather simple, yet told in a manner that raises suspense and keeps one’s attention. I must admit, my expectations for this film weren’t very high. As it progressed, I thought there’d be a clichéd ending, but I was pleasantly surprised when I was wrong – a final plot twists surprises at first, but then makes real sense.

http://youtu.be/Ci2xHjyUd5o

http://www.imdb.com/title/tt1784705/combined

Boredom Killer (2011)

In short

With a narrative inspired by social realism, Boredom Killer touches on issues such as friendship, bullying and acceptance.

2.8

OUR RATING

Computer Creed (2014)

In this day and age, when many of us are glued to screens of various dimensions, we consume content – a lot of content — that informs, misinforms or to simply entertains us. But where is all this digital addiction going to lead us?

The Canadian short film Computer Creed uses satire and irony of situation to portray the struggle of a young boy against an artificial intelligence that has taken control of the world.

A sci-fi with Coming-of-Age (of its viewer none- the-less) and horror motifs, Computer Creed does not impress with acting or production values, yet its original plot intrigues and engages.

This is not The Matrix, but it offers some food for thought, reminding us that our imaginations have no boundaries and may be urging us to disconnect – at least for a while.

http://www.imdb.com/title/tt4312826/combined

Not All Were Murderers (2006)

“Survival was everything. That was the only thought we had.”

Michael Degen

A young Jewish boy and his mother struggle to survive in Jo Baier’s 2006 movie Not All Were Murderers. Based on the childhood memories of actor Michael Degen, the film’s narrative is undoubtedly of the Coming-of-Age genre. Yet it somehow fails to wholeheartedly engage.

Anna (Nadja Uhl) und Michael (Aaron Altaras) in Not All Were Murderers

Of course when watching a Coming-of-Age film about the events that took place in Nazi Germany, it would be best to compare it with other titles with a similar thematic, such as The Boy in the Striped Pajamas (2008), Look to the Sky (1993), and The Island on Bird Street (1997). Short films with a similar theme are Toyland (2007) and Porcelain Unicorn (2010). There are similarities between those films and this one: a child’s perspective of a world in distress, inevitable tragedy, and a melodramatic musical score. Having said that, however, each filmmaker employs distinct techniques to tell the story. For example, some save the most profound scenes for the finale, building up to it for the entire duration. Others (including the filmmakers of Not All Were Murderers) opted to disperse shocking and/or profound scenes throughout the narrative.

Despite all the chaos, friendships are still being forged …

Compared to the other films mentioned, Not All Were Murderers is somewhat easier to watch, yet one is guaranteed to feel strong emotion more than once. But establishing a profound emotional attachment to the characters and their fate is unlikely. Despite the several good scenes, one is likely to feel a bit distant in others (like a movie viewer rather than personally investing in the story.) The latter effect is something I always look for in a film featuring good storytelling.

The fact that Not All Were Murderers is a made-for-TV movie doesn’t mar the result. The quality of the sets and costumes is sufficiently convincing, although they are likely to be responsible for some serious issues the film has with the passage of time concept. The issue doesn’t become apparent until the last scenes when, in conjunction with the seemingly rushed ending, they ruined the whole effect the film is supposed to have on its viewers. For this reason alone, it’s probably better to pick up the book on which the film is based, or another film with more consistently told story such as The Island on Bird Street.

http://www.imdb.com/title/tt0478214/

Not All Were Murderers (2006)

In short

A young Jewish boy and his mother struggle to survive in Nazi Germany.

3.2

OUR RATING

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Changes (2014)

Just a Dream (2002)

Low Tide (2012)

Tom Brown’s Schooldays (2005)

Paperhouse (1988)

The Dynamiter (2011)

A Bloody Tale (1969)

A Very Serious Person (2006)

Boredom Killer (2011)

Computer Creed (2014)

Not All Were Murderers (2006)