Boyhood (2014)

Richard Linklater is a great author and director and I love Patricia Arquette. Ethan Hawke is well, just Ethan Hawke, and Ellar Coltrane is cute, but why all the hype about Boyhood?

Twenty-one of the most recognised film critics rate this film 100/100! I’m talking about amongst others, the likes of Rolling Stone, Roger Ebert (rest his soul) and the Wall Street Journal.

Richard Linklater’s trilogy of Before Sunrise, Before Sunset and Before Midnight, had a sense of anticipation, foreboding and closure where unfortunately Boyhood lacked that structure. Rather watch Hope and Glory (1987) or Jungle Child (2011), I say.

No award from me

The film won one Oscar for Patricia Arquette’s performance (I told you that I liked her!) and another 169 awards. It also got nominated for another 202 awards and got none from me.

So, here’s the story-line (as published by the IFC):

“Filmed over 12 years with the same cast, Richard Linklater’s Boyhood is a ground-breaking story of growing up as seen through the eyes of a child named Mason (a breakthrough performance by Ellar Coltrane), who literally grows up on screen before our eyes. Starring Ethan Hawke and Patricia Arquette as Mason’s parents and newcomer Lorelei Linklater as his sister Samantha, Boyhood charts the rocky terrain of childhood like no other film has before.

Boyhood Trailer

Snapshots of adolescence, from road trips and family dinners to birthdays and graduations and all the moments in between, become transcendent, set to a soundtrack spanning the years from Coldplay’s Yellow to Arcade Fire’s Deep Blue. Boyhood is both a nostalgic time capsule of the recent past and an ode to growing up and parenting.”

Linklater’s method of production was essentially to make several 10 to 15 minute short films over the course of 12 years, each depicting an aspect of Mason’s childhood, and then edit them together as a feature film.

The Family before the storm. — The Family before the storm

Comparing Boyhood to films like Ciske De Rat (1984), or Jungle Child (2011) is like a comparison between a homeopathic remedy and allopathic medicine. For the former to work, you have to believe in it, but the latter has merits of its own despite personal opinion.

I have watched Boyhood twice on my own and once with company and our conclusion is that European cinema (French in particular) can do more in five minutes than Linklater did in 165 minutes with Boyhood. Just consider François Truffaut’s The 400 Blows alone.

Of course, I give Boyhood recognition for determination and effort in the face of daunting logistics. After all, spending 12 years on one film project can’t be easy.

Wait! Wait!

I’m having second thoughts here. Maybe Boyhood reflects American society’s desire for normalcy — a people that want everyday life to be desirable and safe for themselves and their children. Linklater speaks about the film as “a collection of lesser moments … so, what happens in the movie? Not much.” And that is the essence of Boyhood. Not much. Juxtaposed against a society that sometimes lives in fear of its safety and future, Linklater achieved exactly what he had in mind.

A much older Mason. — A much older Mason

I recommend Boyhood to Linklater fans who remember their childhood as a collection of lesser moments no one else can recollect.

http://www.imdb.com/title/tt1065073/combined

Boyhood (2014)

CONCLUSION

A deeply superficial tour de force of childhood navigation.

3.3

OUR RATING

Watch the film now

At Amazon.com

World Wide Woven Bodies (2015)

Although sexual awakening is a big part of the Coming-of-Age transformation youth goes through, it is a subject rarely addressed in cinema. And when it is, it’s often in the form of loutish comedy (as in American Pie). Films that accurately portray the reaching of a critical turning point (revolving around adolescent sexuality as it may be) that results in a loss of childhood innocence, such as Kay Pollak’s 1980 Swedish drama Children’s Island (original title: Barnens ö), are hard to come by.

I came upon the following synopsis of the Norwegian short film World Wide Woven Bodies (original title: Verdensvevde Kropper):

“At the end of the 90s, the internet comes to the north of Norway and coincides with the blossoming sexuality of young Mads (12). The introduction of porn into his life complicates his relationship to his parents, and their house becomes a minefield of uncomfortable interactions.”

As a 90’s kid myself, I expected to easily associate with the film’s protagonist and his experiences (times have significantly changed since then, with almost unrestricted access to just about anything online and an abundance of sites such as Omegle and ChatRulette). All my expectations were not just met – but exceeded!

Exploring. Still from Verdensvevde kropper

For starters, the movie is filed with unforgettable 90s memorabilia: from the infamous dial-up sound, the screen resolutions, the 3D Pipes Screensaver and of course the thrilling sensation of waiting for a single picture to load for more than ten seconds, all of which makes the film feel like a true period piece.

Mads’s rite-of-passage is shown as a real process thanks to the juxtaposition of scenes emphasizing his childhood goofiness with later ones in which he demands respect for his “private sphere” and his reaction to some unfortunate discoveries about the private life of his parents.

Another highlight of the film is the impressive acting performance of the young Heine Dybvik, in the role of Mads, in which he impeccably portrays the nervousness, impulsiveness and curiosity of his teen-aged character. Aided by the intimate way in which some of the scenes are shot, Heine’s acting boosted the story’s authenticity, This aids the viewer’s identification with his character and his mounting frustration as the narrative moves forward.

In an intriguing way, World Wide Woven Bodies (the title itself suggests the way that the web connects bodies and not simply persons) is as much about the Coming-of-Age of a Norwegian teenager as about the advent of the internet as a historical event, which really sets it apart.

Recommended!

An interview with the film’s director, Truls Krane Meby.

14+ (2015)

Some Coming-of-Age movies take on teenage life often varies significantly. Some filmmakers, like Stephen Chbosky, focus on a message rather than the real life of youth out there in their films. The Perks of Being a Wallflower is a perfect example of that approach.

Like the Russian Andrey Zaytsev, other filmmakers opt to shed the false pretenses and pretentious narratives and instead offer a simplified, yet more accurate portrayal of what it is like to be a teenager nowadays, in a thoughtful and honest manner. That second approach results in more engaging and fun to watch films, and the 2015 romantic drama from Russia, 14+, is a perfect example.

Marketed as a “Love story of a modern Romeo and Juliet”, which is a slight overstatement (if one is to keep true to the original literature characters), 14+ tells the story of Alex (Gleb Kalyuzhny) and his quest to melt the heart of the beautiful Vika (Ulyana Vaskovich). It’s a challenging task, with Vika not only being the first love of the young protagonist, but she also attends a rival school, ruled by the fearsome Wolf, an older boy who leads a gang of tough kids in numerous fights against pupils of other establishments who dare to cross into “their lands”.

The boys from the other school. You would not want to meet them in the dark, would you ?

The story is set in the residential areas of Moscow. Yet its universal theme is easily transferable to any large city around the world (and especially in Europe). Alex and Vika belong to a generation that grew up on video games and social networks, with parents who rarely discuss growing-up issues with them, believing that they are old enough. The Russian social network site VK (think of it as the Russian Facebook, if you have never heard of it) is featured quite a lot in the film and it did not come as a surprise that the filmmakers utilized its capabilities to discover and recruit many of the young kids that star in the film. Most of the actors are non-professionals, playing themselves and that probably is part of the reason as to why their performances appear so natural. Of course, we can also attribute that to the capable directing of Andrey Zaytsev.

It is extremely easy for one to identify with the film’s protagonists, especially with Alex’s feelings and mental state (the nervousness, shyness but also the determination). I can very well remember these from my own teenage days, including a time in which a younger Georgi gifted roses to his “Vika”, while making a fool of himself in front of her entire class.

14+ is also a film with a great soundtrack featuring spot-on music to the pulse of youth today while giving the nod to the music their parents listened to as well, including: Radiohead, Manu Chao, Serge Gainsbourg, Adriano Celentano (by Alexey Sulima) and many other Russian songs. The songs liven up the scenes and make the film even more enjoyable to watch, especially for young audiences.

All in all, I greatly enjoyed the film. It’s very objective and does a credible job in portraying the trials and tribulations of first love and growing up.

https://www.imdb.com/title/tt4427076/reference

14+ (2015)

CONCLUSION

An accurate portrayal of what it is like to be a teenager nowadays, presented in a thoughtful and honest manner.

4.2

OUR RATING

Snake Bite (2016)

What are you looking for in a short movie? Maybe a tense, intriguing story with a surprising twist guaranteed to evoke that “Wow “effect? If yes, Tim Hyten’s 2016 short film Snake Bite has you covered.

Four boys venture deep in the woods exploring the marvels of nature. One carries a book on poisonous snakes, ensuring they can identify each species they may stumble upon. It’s an adventure with a tint of danger, the perfect ingredients for a boyish day out. All is fun and games until one of them gets bitten – and not by just any snake – but by the infamous Black Widowmaker. The guide helps them identify it, but does not offer a remedy. Time is running out for the bitten boy and a harsh choice has to be made …

Can they save their friend? / Snake Bite (2016) — Can they save their friend? / Snake Bite

The plot is both simple and complex and the story encompasses a single happening in the life of its young protagonists. As crucial a happening as it is, how it’s handled by the boys allows the viewer to get to know the characters largely through their dialogue and reactions.

The cinematography impresses with the skillful use of lighting and framing that gives the film a naturalistic, true-to-life atmosphere while high lining the action. A suspenseful short film, Snake Bite manages to grab one’s interest and holds it throughout – all the way to its original ending.

http://www.imdb.com/title/tt5110024/combined

The Perks of Being a Wallflower (2012)

The journey from outsider to insider is the guiding theme of this excellent Coming-Of-Age drama/ romance that does almost everything right.

Being different is something I can personally identify with, and The Perks of Being a Wallflower was just the kind of medicine I needed to counter the somewhat useless reality that I am unique just like everyone else.

The Perks of Being a Wallflower is set over the course of one school year during the early 1990s in the USA, the time of The Rocky Horror Picture Show, David Bowie and Nirvana.

As 15-year-old Charlie (Logan Lerman) enters high school with some trepidation, he does what most outsiders would do – watch and learn. Even though school isn’t exactly the kind of place where common sense prevails, by necessity sub-cultures exist to accommodate those who do not conform.

Ezra Miller as Patrick and Logan Lerman as Charlie.

Luckily for Charlie, two seniors soon adopt him: Sam (Emma Watson) and Patrick (Ezra Miller). Their attitude of “vive la différence” is just what Charlie needs. He doesn’t realise it at first, but soon discovers that the time has come for adventurous and hedonistic pursuits instead of existentialist introspection. Alas, things are never that simple. Charlie has issues. He falls in love with Sam, who is not available, suffers from depression and struggles to cope with the suicide of his best friend.

Emma Watson as Sam. — Emma Watson as Sam

Mr. Anderson, his English teacher (played by Paul Rudd), provides appropriate reading material like The Catcher in the Rye. Charlie even starts dating the gregarious Mary Elizabeth (Mae Whitman). But his newly adopted lifestyle becomes “too much too soon” and Charlie spirals out of control, however not quite like Albert Camus’s “The Stranger” (one of the books he is given to read) who is condemned to failure.

Scene from The Perks of Being a Wallflower

On a superficial level this narrative is all too familiar, so what sets The Perks of Being a Wallflower aside from the rest? Right from the start it’s obvious that this movie is more than a glib treatment of the high school Coming-of-Age genre. Chbosky’s belief that there should be no stigma attached to mental health issues is central to the theme of The Perks of Being a Wallflower and that makes for enthralling viewing.

Stephen Chbosky proves once again that some of the best films come from authors who produce their own work.

If, for some reason you haven’t seen it yet, The Perks of Being a Wallflower is highly recommended.

http://www.imdb.com/title/tt1659337/combined

The Perks of Being a Wallflower (2012)

CONCLUSION

The journey from outsider to insider is the guiding theme of this excellent Coming-Of- Age drama-romance that does almost everything right.

4.2

OUR RATING

Get the DVD

Amazon

The Demons (2015)

If this review of the 2015 French-Canadian film The Demons (Les Démons) makes you as uncomfortable as I am writing it, it’s achieved its goal.

The film is essentially a Coming-of-Age drama where the end represents a return to innocence with exceptions. Philippe Lesage (the Writer/Director of The Demons) takes us through some of the riskiest, immoral, and illegal territory known to man.

Édouard Tremblay-Grenier as Félix observing the family activities.

The Demons depicts stereotypical everyday activities that belong to the Canadian society our protagonist lives in but, right from the start, it’s evident that something is different. Days that could be boring are now imbued with an undercurrent of menace.

Edouard Tremblay-Grenier stars in Philippe Lesage's The Demons — Edouard Tremblay-Grenier stars in Philippe Lesage’s The Demons

Ten-year-old Félix, played by Edouard Tremblay-Grenier, stands apart from his schoolmates and teachers in The Demons. His quiet, introspective nature—marked by a hesitant step or a watchful gaze—sets him apart. He is different and more of an observer than a participant in the clichéd life of others. Through his interpretation of events and others’ social interactions, Félix lives in fear, and his imagination creates unrealistic doom-and-gloom scenarios. The film takes a slow, observational approach, often isolating him in the frame to emphasize his perspective.

Symmetrical wide-angle scenes are often used.

The cinematography is deliberate, with long, unhurried takes that emphasize Felix’s introspective nature. Silence plays a role, often replacing music to create a naturalistic, almost documentary-like atmosphere. This enhances the film’s realism, making small moments feel weighty and significant. So I followed with interest, trying to pick out hints about Felix’s character.

The film strategically foregrounds the children’s vulnerability, prompting our innate desire to nurture and protect. It then deftly subverts this instinct by exposing the dark exceptions to that impulse.

The Demons‘ ambiance is not subtle. Philippe Lesage explains that he took some risks instead of sanitizing the story, as many contemporary directors do. And yet, after investing some time watching the film and trying to analyze all of Felix’s character traits, the finale disappointed me. There is no clear resolution or transformation for Felix, making the ending feel frustrating and unsatisfying after all the time spent developing his psychological journey.

I like normally like art house cinema and character-driven dramas, but The Demons disappointed me. The film built up expectations only to abandon them, and the slow pacing was unjustified. Maybe the narrative tries to reflect the unpredictability and confusion of childhood—how fears come and go, how kids don’t always get clear answers, and how life moves forward even after disturbing events. But even if that’s the case – I will hesitate before recommending The Demons.

The Demons (2015)

CONCLUSION

As a coming-of-age drama, The Demons, is not light entertainment, it is a realistic perspective of the world of the guiltless and the guilty.

Character/Acting

Score/Soundtrack

Cinematography

Storyline/Screenplay

Production

Direction

Reader Rating0 Votes

2.7

OUR RATING

IMDB

IMBD

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

Get the DVD

Amazon

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

Get the DVD

Amazon

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

Watch the full film

Vimeo ( On Demand)

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

Get the DVD

Amazon

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

TheSkyKid.com

TheSKyKid.com

Boyhood (2014)

No award from me

World Wide Woven Bodies (2015)

14+ (2015)

Snake Bite (2016)

The Perks of Being a Wallflower (2012)

The Demons (2015)

The Liverpool Goalie (2010)

Changes (2014)

Just a Dream (2002)

Low Tide (2012)

Tom Brown’s Schooldays (2005)

Paperhouse (1988)