Introducing Christian Lalama (2016)

Christian Lalama comes from a musical family and lives in Ontario, Canada. How big a role producer David Kahne has played in the creation of his original songs I can’t say, but I would guess a major one!

Let’s put some tunes under analysis and see what this young artist is singing about.

Burn Down the Lonely Night

His latest YouTube upload (109K views in four days!) is Burn Down the Lonely Night, a haunting, plaintiff tune that I had trouble understanding. This song is apparently written by his brother and set to the backdrop of beautiful, early autumn foliage. But what makes this so dramatic?

What appears to be an assertion of faith in the opening lines, which have a wonderful mystic quality, is actually a questioning of faith.

Christian is playing a small wooden piano in a field, but the sound is similar to a church organ. This creates a kind of contrast between reverence for Nature, and a vision of faith.

It’s about losing this template of ingrained belief and finding real value in a loving relationship. It is also about a moral dilemma, and about being without purpose or direction.

The song touches on the loss of innocence, young love and finding redemption and value in a lover.

So the lonely night is burned away by the warmth of a loving partner. The burning piano, the burning couch, the burning chair; all symbols of things that have their own value, destroyed and replaced by a new reality, that of finding a soulmate, even if it’s temporary.

And so the song has a simple message: Love conquers darkness, loneliness — and gives a new direction.

Greatest Day

A very positive song with active cuts from a playground. It is upbeat and celebrates life, as we see Christian swinging, sliding and jumping — an homage to being alive. On YouTube it’s only 1:26 long, but I enjoyed it.

Eleven

Eleven is a brilliant little creation, very inventive, as we see Christian at a blackboard writing outlines: 1+1 is not 11, it’s a bumpy beat song with many word/number inventions. 1derful, 2gether for example. It is playful and dreamy and visually fun.

Of course, the message is simple. He’d rather be in Love’s classroom than worried about schoolwork. But it also shows a side of Christian I like –this clever, playful person who loves to be in the spotlight. Some very high notes at the end.

I believe this artist is only now (he turned 13 in August 2016) entering a stage where his versatility will really get attention. Some of the earlier vids are well done, but more in the realm of a young Aaron Carter type kiddie pop. You can find many more songs on his YouTube channel or check his other media sites.

Personally, I will look forward to seeing what comes next. With the assistance of his family and David Kahne, I know there will be quality creations!

Hard Goodbyes: My Father (2002)

Do you know how to say Goodbye?

I haven’t seen that many Coming-of-Age films from Greece. Aside from The Cistern and Uranya, Penny Panayiotopoulos’s psychological drama Hard Goodbyes: My Father is only the third film I can recall. Its title hints of the nature of the story and it’s not surprising that the father-son relationship, as well as the hard goodbyes, are the pivotal motifs of the narrative.

The film’s protagonist is a 10-year-old boy, Elias (Yorgos Karayannis), who treasures every precious moment he gets to spend with his dad Hristos (Stelios Mainas) who is often away trying to make a living as a traveling salesmen. Elias feels the absence of his father more acutely than his older brother and impatiently awaits the next chocolate block on his bed – a token that means his dad has come home. Too young to understand the tribulations of life, Elias witnesses some disagreements between his parents and wonders if his mother is to blame for the frequent absence of his father.

Elias (Yorgos Karayannis) is always looking for his father

One day Elias’s father departs on a trip from which he won’t return. A tragic traffic accident takes away his life. When the news reaches Elias, he refuses to accept the truth, opting to cling to a parting promise his father made to him: that he will be away for a while but will return in time for the Moon Landing. (Interestingly enough the moon landing is an event that is frequently featured in Greek Coming-of-Age narratives – and it also appears in Uranya).

Hard Goodbyes: My Father (2002) Trailer

The film explores the grief process and its effects on a young boy’s psyche. Elias keeps his father alive in his mind and even starts writing letters, signing them as his father, to his absent-minded grandmother who the family chooses to protect by not revealing the fate of her son. Thanks to his creative imagination, Elias manages to create an alternative reality for himself and his grandmother, one in which his father takes his family away to an island where the arguments with his wife have ceased and the family is happy once again.

While the action is somewhat slow-paced, the director manages to portray the daily life of a Greek family in distress quite accurately (an observation based on personal experience). Yorgos Karayannis’s facial expressions are indicative of his overall excellent acting and his communicative eyes and face are frequently in focus during close ups — so that one can’t help but smile along with him or feel his profound sadness in other scenes. I will admit that I was moved to tears more than once, partly because of the subject matter and partly because of the way it was portrayed on screen.

Scene from Hard Goodbyes : My father — Scene from Hard Goodbyes: My Father

Although the musical score that is present is predominately composed of diegetic sounds (beautiful Greek songs at that), some of the most emotive and poignant scenes are accompanied only by silence. This serves as a check back to real life, somehow achieving an enhanced emphasis on the happenings and events portrayed in those scenes.

Interestingly enough, in addition to the Coming-of-Age nature of the film, the process of growing up (as well as the notion that there is more than one way for one to do that) is featured in the film’s dialogue, a curious fact that no fan of the genre will miss. The motif of lost innocence is also present, reminding viewers that sooner or later they will also face the need to make hard goodbyes.

Compared to other Coming-of-Age films exploring the issue of grief, such as Finn (2013), Kauwboy (2012) or Incompreso (1966) to mention but a few, Hard Goodbyes: My Father impresses with its ability to portray the inner world of its young protagonist. It’s somewhat quieter and subdued than some of those other films, but it still delivers a poignant cinematic experience, especially for those knowing that movies provide more than just senseless entertainment.

http://www.imdb.com/title/tt0329002/

Hard Goodbyes: My Father (2002)

CONCLUSION

Impressing with its ability to portray the inner world of its young protagonist, Hard Goodbyes: My Father delivers a poignant cinematic experience.

4

OUR RATING

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Introducing Ty Lewis

Ty Lewis is not a boxer! He’s a 15-year-old singer from Billingham in England who has been taking voice lessons for some years now. He has won the Newcastle Children’s Talent Show and an “RUtalented” competition.

I have to smile reading some of the accolades and compliments on his homepage.

“a voice this angelic very rarely escapes the lungs of a real human being“

“With his teenage swagger and cheeky command of this voice…Ty…is way ahead of simply fledgling“

“…pleasant, enchanting quality in his voice…”

Hmmm. I hate to write a review with the handbrake on, but…..screech!

Certainly, this boy has a pleasant, enchanting quality in his voice in places, a voice that has gained confidence performing over the past two years. But to state that he is ready to replace Justin Bieber is simply bravado. In fact, let us shift down to first gear!

The most recent video I found, Dancing On My Own (Calum Scott cover), shows Ty on the keyboard and it is a fine sensitive interpretation. However, the visual somewhat spoils my enjoyment. In a voice that tastes a bit like Tom Andrews, Ty does well in bringing the solemn mood of this song across. The voice lessons have certainly paid off, as his notes here are right on.

Ty Lewis – Dancing On My Own

Visiting His Past

But let’s go back two years and listen to Hold On We’re Going Home (Drake cover), performed at the Teen Star Competition (Newcastle Regional).

Once again a somber song with a tender treble and a nice personal touch; uncomplicated, innocent and honest. This works for me. The acoustic setup is close to perfect. This reveals a fine Ty quality, this gentle contact with his audience, and an immersion in the song’s lyrics; a few flat tones, but they’re brief.

Ty has a video filmed mostly in a church by Hungry Wolf Productions. The song is Uptown Funk, featuring five young girls with some dance steps and choreography added. Let’s just say it’s a howl. It’s not professional, but that’s OK because it looks like everyone had fun shooting this funky tune. The audio track is fine.

In introducing Ty to the readers of theskykid.com, I want to emphasize that this boy is developing a fine ability to perform and interpret, but it is truly in an early stage.

We should give him some time to fine tune his magic. If that happens, there may be a great horizon opening for Ty Lewis.

(I confess to being the critic who drove by a young Jack Vidgen before he went to music school and won the Aussie Voice competition).

Another video I liked, from July 2014, is Ty’s Save the World (live cover of R.I.P) Some difficult “dragged” notes here, which he does very well. He finds the dreamy, clairvoyant quality of this tune nicely.

In a live performance of Bring it On (from 2015), Ty motivates his crowd to sing along and looks quite confident doing that. Memorizing the rapid lyrics also must not have been easy.

These are but a few examples of this 15-year old’s online repertoire. You can explore more on his sites. To his management, I would recommend investing in some pro videos of him. His voice right now has a smokey adolescent charm and that should be captured before it changes. I would be pleased to see new quality videos of him, and I hope he continues to gather experience by singing to live audiences.

After all, it’s the quality of voice (audio) mixed with the quality of performance (video) that will bring recognition. And I hope it will.

So now we can shift up, put the show on “cruise”, and wish you “good luck” in the race.

Ty Lewis on Twitter

4th December 2016!!! @UbeatTV 💙

My Best Enemy (2010)

“Even the smallest crawler can invade a cabbage”

Relevant enough in real life and significantly important, bullying is one of the most frequently addressed topics in the Coming-of-Age cinema and is often seen as the “go-to” theme for aspiring filmmakers.

But, alas, the abundance of movies on the topic can often achieve the opposite result than the one intended – “Oh no, not yet another bullying movie.” Yet every once in a while, one discovers a film that treats this common subject in an original, provoking and impacting manner that invalidates the “yet another one” argument.

A new entry in that category of uniqueness is the 2010 film from Denmark, My Best Enemy (Original title: Min bedste fjende).

Based on Thorstein Thomsen‘s novel, The Transformation of a Nerd, and directed by Oliver Ussing, My Best Enemy provides a stirring portrayal of bullying, victimization, and revenge as seen through the eyes of the film’s young protagonist Alf (Nikolaj Støvring Hansen). He does ballet in his spare time — has a real talent for it — but as such, a vocation is often seen as unconventional for boys (remember Billy Elliot) – the young “danseur is often subjected to humiliation and abuse at school.

Nikolaj Støvring Hansen as Alf in My Best Enemy

Alf is not the only one being bullied, and he often witnesses the ordeals that the other victims, such as Toke (Rasmus Lind Rubin), who is an overweight kid, or Tilde (Clara Bruun Sandbye), a girl wearing braces, have to endure. The popular kids spare no one the cruel treatment.

The turning point for Alf comes in the form of an inspiration by the character of the manga comics “Niccolo” (based on Niccolo Machiavelli‘s book The Prince), who is taken by the boy as a literal role model – causing him to shape his identity and exact revenge on his tormentors. Alf knows that he can’t fight his battles alone and recruits Toke into a secret club — a brotherhood of covert plans and sacrifices… a brotherhood of vengeance.

my-best-enemy-scene — Things can get awfully wrong.

Cinematically, My Best Enemy features a lot of elements and motifs that intensely enhance its story. One such element is the intertwine between the comic book world and “real life” and an intriguing way of using sound effects and musical score to bring both the comic world and Alf’s imagination to vibrant life on screen. The scenes are well composed with an abundance of close-ups, allowing viewers to see (and even feel) the emotions of both Alf and Toke.

Of course, that would not be as effective if it were not for the film’s cast and especially Rasmus Lind Rubin and Nikolaj Støvring Hansen – both of whom emit tenderness and innocence. Both have memorable features, and one can closely follow the changes that occur in their inner worlds just by observing their facial expressions and mannerisms. This allows for a level of identification with the characters and, consequently, eases the reflections on one’s own life. In my case, I was bullied for being a fan of the music band Hanson as a kid (unconventional for a boy, according to some). But I am glad I never resorted to some of the life choices that Alf and Toke chose or were forced into.

The soundtrack is modern and upbeat and helps the dynamic of the action — not that the dynamic needed much help. The action is intense from the very first scene. After that, the viewer is thrown straight into the action, and thereafter the film does a great job in holding one’s attention for its entire duration.

Many plot twists are present, and, as a consequence, one is always on an emotional roller coaster – sometimes joyful from watching the scenes of sweet revenge, at other times sad, angry and confused. All in all, the emotions that the film’s protagonist goes through have a great effect on the viewer’s emotions.

The world of comics plays a huge role for the story development — The world of comics plays a huge role in the story’s development

My Best Enemy is hype enough to be enjoyed by teens, yet its seriousness and poignancy can be appreciated by older audiences as well. I visualize it being screened and discussed at schools, being much more effective than many anti-bullying talks and initiatives currently in use — without being preachy.

The only similarly themed film with that level of originality I can think of also comes from a Scandinavian country — namely Ruben Östlund`s Play (2011). I urge you to watch and experience both films.

http://www.imdb.com/title/tt1467405/combined

My Best Enemy (2010)

In short

My Best Enemy is a stirring portrayal of bullying, victimization, and revenge as seen through the eyes of the film's young protagonist.

Character/Acting

Score/Soundtrack

Cinematography

Storyline/Screenplay

Production

Direction

Reader Rating1 Votes

5

OUR SCORE

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Play (2011)

Every once in a while, I stumble upon truly provocative films. A majority of them usually come from either Scandinavian countries or Scandinavian directors. The Swedish movie Play, directed by Ruben Östlund, made a huge impression on me with its objective (and quite realistic ) portrayal of the rite of passage experiences of three young Swedish boys who become victims of intimidation and psychological bullying by four black boys (likely immigrants) who are just few years older.

The action takes place in the second largest city of Sweden, Gothenburg, and the film is shot on location making use of all the prolific backdrops that an urban environment can offer (from malls and public transportation to construction sites and playgrounds).

The film is quite unsettling as, while watching it, one becomes aware of the stereotypes that society has imposed upon us from early childhood, making us perceive certain groups of people differently because of their skin color, social status or age. Play clearly demonstrates that not only do such stereotypes exist but are realized by the people who happen to fall in one or another category and are sometimes exploited by the stigmatized persons.

Play (2001 ) Official Trailer

The camerawork in the film is quite unique. Most of the time the camera is steady, fixed on a certain space in which the action may be occurring. More often than not, the action takes place off screen. And almost all the time, the action was shot in long takes — the focus almost always deep as if the Director wanted to make sure that you will never be forced to concentrate on a specific action of a character. Instead, the viewer is free to wander around the scenes picking one’s own subject of attention, be that the general life of the Swedish society, the young protagonists of the story or the adults that were almost always passive witnesses while ignoring everything that does not affect their own persona.

Most of the adults in the film choose to ignore the scenes they witness or choose not to intervene. While watching the scenes, I was put in a similar position. On the one side I felt like I should intervene (an impossible thing for someone who is only watching a film). Yet, at the same time, I felt equally intimidated as the young victims in the film. That passive reluctance was typical for the adults I observed on the screen.

Bullies and victims

In addition to the fixed camera and long takes, the camera was almost always placed a significant distance from the characters in the film, as if the Director wanted to further emphasize their vulnerability. A secondary story line of a forgotten/misplaced cradle is introduced through cross cuts and, while I failed to understand how it related to the main story, it did provide a much-needed relief from the tension and anxiety that gradually built up — not only in the young viewers on screen, but on the viewer’s senses as well.

Play (2001 ) – long shots are used frequently throughout the movie

The film ended quite abruptly, without a real closure, which was disappointing — even though I understand the Director wanted the film to end the way it did so as to further boost the association with the story on screen and in real life.

I found the story of Play very provocative and even though at film’s end I was left with more questions than answers, I appreciated the way the story played on my mind – raising those questions. As soon as the final credits rolled, I felt the need to discuss what I had just seen and experienced. It is not that the story is so unique (I would argue that many stories just like the one portrayed in Play occur multiple times each day in almost all big cities). Such stories usually concern only the persons directly involved or affected – until a film like Play comes along…

http://www.imdb.com/title/tt1376717/combined

Play (2011)

In short

Play (2011) is a provocative film, which may leave the viewer with more questions than answers.

5

OUR SCORE

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Baby Bump (2015)

Reviewing Art-House cinema is not my vocation, even the art-house films that arguably belong to the Coming-of-Age genre. Yet I have attempted it before, with Terry Gilliam‘s bizarre short The Wholly Family. As I established in that review, one can’t help but agree that this type of film is capable of expanding the ways in which one sees the world. Kuba Czekaj‘s 2015 film Baby Bump is such a film – too wild, accurate, disturbing, confusing and messed up for me not to review here.

Mickey (Kacper Olszewski) is growing up. His body is changing, his thoughts go wild and all is up on the screen for us to see – close up, personal and explicit. If you have a puritanical mind, you are guaranteed to be offended – butts, tits, erections, vaginas, hair, blood and other body substances. The filmmakers do not spare anyone from the roller coaster like portrayal of…Coming-of-Age (growing up), while keeping one’s senses (or losing them on the way).

Mickey (Kacper Olszewski) and his mother (Agnieszka Podsiadlik)

There is no consistent storyline to speak about, only a collage of experiences, thoughts and fantasies presented in a lavish manner. Utilizing modern cinematic techniques: split frames, vignettes ,CGI animations, rapid cut edits and intriguing sound and special effects, the filmmakers grasp the attention of the viewer. At times it’s shocking, provoking and, in my case, severely confusing (though after a while things start to make sense). All of the adjectives that I have used to describe the 2012 short film from Switzerland Hazel (Flamboyant, quirky, funny, provoking and original) also perfectly fit the Polish, Baby Bump.

The whole movie is shot from the child's perspective — The whole movie is shot from the child’s perspective

It is not a coincidence that I have referred to two short films while reviewing Baby Bump. I genuinely believe that it would have been more effective as a short film than a full feature — thus sparing the viewers from a surrealistic overload (even though some people may love it just because of that).

The bluntness of the filmmakers in portraying Coming-of-Age experiences in this film reminded me of Kay Pollak‘s 1980 film Barnens ö (Children’s Island). I doubted that any director of the increasingly non-tolerant society that we live in, filled with non-genuine concerns blown out of proportion, would have the courage to portray growing up in such “in your face”, daring manner.

Due to the nature of the film, acting is hard to judge, yet Kacper Olszewski manages to be extremely cute and photogenic as Mickey in some scenes (shot in extreme close-ups), yet slightly repulsive in others. The film is about his character and told from his child`s perspective. It’s a character study of a kind, yet one focusing on the physiological and psychological changes that occurs for all of us when we leave our innocence behind.

I enjoyed the film, yet hesitate to whole heartily recommend it knowing that many audiences will find it way too provoking – even vulgar at times. The biggest drawback to me is the lack of a consistent narrative, which also makes the film unsuitable for repeated viewings (unless one decides to decipher the symbolism Baby Bump is filled with).

Official Trailer

http://www.imdb.com/title/tt5028892/combined

Frailty (2001)

“Destroyin’ demons is a good thing. Killin’ people is bad.”

If the opening credits of a film serve the role of a teaser — setting up one’s expectations about the story about to unfold – then Frailty‘s credits perfectly fit that bill. A suspenseful selection of music (typical of thriller openings) and gritty visuals serve as a perfect example of how to grab one’s attention from the very beginning. True, they do not hint of the Coming-of-Age thematic of the story per se, as one discovers early on in the film.

It’s been a while since I have watched a film with such an original and engaging narrative as that of Frailty. Its story is twisted and disturbing – involving a shattered childhood and lost innocence — and it’s fully capable of gripping the viewers minds while challenging their perception of good and evil.

A widower man raising two young sons in rural East Texas discovers his caling ... — A widower raising two young sons in rural East Texas discovers his calling …

The director employs a retrospective narrative to address the film’s dark subject matter (a serial killer and manipulation) using an adult protagonist: Fenton Meiks (Matthew McConaughey). Fenton recalls an evening during his childhood when he and his little brother Adam (Jeremy Sumpter) are awakened by their father (played by director Bill Paxton) who claims to have been visited by an angel who has bestowed their family with a mission to hunt demons, thereby assisting God in the final battle between Good and Evil.

“There are demons among us. The devil has released them for the final battle. The war continues at the moment. But nobody knows it except us and like us…”

The boys are perplexed to hear about their dad’s visions, yet both have a very different response to them. While Fenton doubts the sanity of his father, Adam is more than willing to help his dad – and help God get rid of the demons that roam the earth. Decisions are yet to be taken and acted upon, but one thing clear: life as they have known it is no more.

Adam (Jeremy Sumpter) and his dad (Bill Paxton) in Frailty (2001) — Adam (Jeremy Sumpter) and his dad (Bill Paxton) in Frailty

When it comes to the acting performances, I must admit that what I saw exceeded my expectations. Bill Paxton as Dad Meiks delivers such a genuine persuasive performance that one feels almost ready to believe his story of God, angels and the demons that are to be destroyed. Such a notion is scary, but somehow the fact that the actors managed to achieve that level of manipulation, allows the viewer to understand better how his ideas may have affected the innocent, young minds of his sons.

Matt O’Leary, as young Fenton Meiks, turns in one of the best acting performances I have ever seen in cinema. Much of the Coming-of-Age nuances of the film come from his struggle to understand, make sense of and eventually fight the will of his father. This makes him the main driving force behind the story – told from his perspective as an adult recalling past days and events.

Matt O’Leary - impressive performance as young Fenton — Matt O’Leary – an impressive performance as young Fenton

O’Leary’s stellar performance includes verbalizing feelings and emotions in dialogue (a memorable scene is one in which Fenton, after being presented by his dad with a list of “daemons”to be destroyed, exclaims “Dad, these are people’s names …”). And he also is superb at expressing them through his gestures and facial expressions (in that same scene observe his face as his dad goes on to explain his visions with “That’s right and they will look like people too, but they are not…”). Yes, throughout the film, Matt O’Leary is always natural and sincere, which facilitates one’s identification with his character or, at the very least, makes one really care for his fate.

“I hated Dad’s God, and I would have run away if it weren’t for my brother. I just couldn’t leave him there.”

Jeremy Sumpter (a cinematic debut for the young actor) is equally convincing as Fenton’s little brother Adam. And, while his role is more of a supporting one, his character projects a collage of children’s psychological traits: innocence, curiosity and even cruelty at times, all in an impeccable manner. (After watching his performance in Frailty, it comes as no surprise that Jeremy aced the role of Peter Pan in the infamous 2003 live action film directed by P. J. Hogan)

“I did a lot of thinking and praying after you went to bed. I asked the Angel to visit you, instead he visited me. He told me something… that I don’t want to believe.”

The film is atmospherically extremely dense. Its haunting musical score, beginning with the movie’s opening sequence, persists throughout, bewitching the overall mood of the story. Combine that score with beautiful photography (somehow a portrayal of one’s childhood days always manages to retain a degree of beauty and innocence, regardless of the context in which it’s placed), an intelligent script and great direction, this film manages to invoke anxiety in its viewers.

Frailty Official Trailer

I viewed Frailty twice prior to writing this review and have discovered that the film is perfectly suitable for repeat viewings. The viewer is always able to catch subtle nuances or symbolism that may have escaped one’s attention initially. Admittedly, the film has a 90s feel to it but, in my book, that’s a good thing and doesn’t lessen the viewer’s enjoyment. In fact by seeing the movie more than once, you’re provided with plenty of things to think about while watching it and beyond — long after the final credits have rolled.

A psychological thriller with strong Coming-of-Age motifs, Frailty is a true masterpiece that deserves to be seen. Highly recommended!

Frailty (2001)

In short

A psychological thriller with strong Coming-of-Age motifs, Frailty is a true masterpiece that deserves to be seen. Highly recommended!

Original story

Great Acting

20 % of the movie is not as engaging ( with the adult Fenton)

4.7

OUR SCORE

Watch on Demand

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IMDB

Jeremy (2010)

There are many Coming-of-Age movies that focus on the first religious experiences of a young person. Looking for a film of that genre, I’m happy I chose Brian Faye‘s short film, Jeremy. The story focuses on a young boy whose personal circumstances are anything but favorable. He dwells in a trailer park alongside his lottery obsessed mother, her latest boyfriend and two older brothers – who like nothing better than to tease him.

While visiting his father in jail, Jeremy (played by Dalton O’Dell) is quite surprised to find out that his papa has been spending time with a church group. Curiosity awakened, the boy decides to attend a church on his own and see what it is all about, hoping to be different than the television preacher urging people to “Get their demons out”.

Essentially Jeremy is a movie about self-discovery and determination. Cinematographically the film impresses with its framing while the cast delivers credible performances all around. The musical score is quite melancholic, which fits the overall mood of the narrative. Unfortunately, the story seems a bit far fledged by the last scenes – mainly for the emphasis on Jeremy’s wish – a white shirt and a tie that he can wear at Sunday school. While I get the idea of conformity and acceptance (or fitting in) is symbolically addressed, I find it ridiculous that one’s appearance has to have so much importance to the people in the church. That and the fact that the first encounter with the pastor looked more like a kid sent to a dean’s office.

Then again, one has to take a story in the context of its setting – in Jeremy’s case that is rural USA. So it’s quite possible that audiences may dismiss the imperfections that I noted as irrelevant. Being a member of the Eastern Orthodox faith, my idea of church is somewhat different than the one portrayed in the movie.

Brian Faye‘s short film is filled with unrealized potential but, at the same time, it manages to get its message across in a manner that does not bore its audience, which so often tends to be the case with films having a religious theme (i.e. the 2012 film I Am Gabriel).

Jeremy (2010)

In short

A movie about self-discovery and determination with impressive cinematography and credible performances by its cast.

3.4

OUR SCORE

Last Ride (2009)

As suggested by the title, Glendyn Ivin’s 2009 Australian film Last Ride is essentially a Road movie with significant Coming-of-Age overtones.

Bringing back reminiscences of other similarly themed films such as Cormac MacCarthy’s The Road, Clint Eastwood’s A Perfect World, and even Dave Schultz’s Jet Boy in a way, Last Ride introduces the viewer to Kev (Hugo Weaving), a rogue character on the run from the law, and to his 10-year-old son Chook (Tom Russell). The latter accompanies him on a journey with no set destination (symbolically in life and on the road).

The pace at which the action develops is not as swift as some would prefer, and the enjoyment received from the film depends largely on one’s willingness to fit the story pieces together.

Observing the interactions between the boy and his father, becoming aware of moments from their past as revealed through infrequent flashbacks – in short, getting to know the characters’ personalities — is what Last Ride is all about. The film is a classic example of a character-driven Coming-of-Age narrative.

Tom Russel as Chook in Last Ride (2009) — Tom Russell as Chook in Last Ride

Admittedly, I found myself stealing glimpses at my watch after the first half-hour. Yet towards the end, I realized I had begun appreciating all the little bits of information gained from watching. It helped me understand the film’s finale and the motivation behind the hard decision that the characters were forced to make.

Father and son on the run . Scene from Last Ride (2009) — Father and son on the run. A scene from Last Ride

Father and son are present in just about every scene of the film. Their characters are formalistic: the strict dad trying to teach his innocent son how to be a man and succeed in life, or at least not be the failure that he sees in himself (being an outlaw on the run). As the viewer gets engaged with the story, one can’t help but pity the dad and his failure, yet hope that somehow he will push through to a successful conclusion on this seemly aimless and potentially dangerous journey on which he takes his son.

The characterizations rely primarily on dialogue – the conversations between father and son reveal a great deal about their relationship in a surprisingly intimate manner. Hugo Weaving and Tom Russell manage to pull off good, credible performances.

Being a Road movie, it doesn’t come as a great surprise that the sets in Last Ride play a role all their own. Be it the Australian wilderness, the bush forest or a vast expanse of desert-like salt lake, the sets appear to mirror the characters’ state of mind.

Another common trait of the Road films is the musical score. They have songs accompanying the action in just about every scene. In Last Ride, non-diegetic guitar chords enhance the scenes in a manner typical of Indie flicks.

All in all, Last Ride is not a film for those who enjoy just passing their time while viewing meaningless action. This movie requires a certain determination from its viewers, which, once made, rewards them with a touching and intimate portrayal of a father and son.

Last Ride Trailer

Last Ride (2009)

In short

Good acting

Cinematography

Slow pace

Not original score

4.2

OUR SCORE

Watch now on Demand

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The Yellow Balloon (1953)

The 1953 British Coming-of-Age thriller, The Yellow Balloon, tells the story of Frankie, a boy who is coerced into aiding a local criminal. Intriguingly enough, one can see how the film has inspired (even if vaguely) other similar movies released at a much later date, such as the 1993 masterpiece starring Brad Renfo, The Client.

There is something unique in the black-and-white stylistic that allows for a better appreciation of the lighting (shadows have the potential to enhance any scene or face) and the overall arrangements of the scenes in the film. Somehow faces appears more expressive, although this may be attributed to the talent of Andrew Ray, whose portrayal of the confused and scared Frankie in The Yellow Balloon makes one sympathize with and care for the young protagonist. It is said that “eyes are the mirror of the soul” and this is especially true for the wide-eyed Andrew Ray. One can literally read his feelings in his eyes.

While Andrew Ray’s steady character portrayal of Frankie is present in most of the film’s scenes, it should be noted that not all members of the cast are equally convincing. Kathleen Ryan and Kenneth More, who portray Frankie’s parents, overacted a bit – delivering more of a stage style of acting, which is non typical for classic films. Such as style makes them appear dated in the eyes of today’s audiences.

While it would be overkill to call the film moving, it has enough plot twists, and a tint of suspense, to keep modern audiences engaged.

http://www.imdb.com/title/tt0046561/combined

The Devil in the Skin (2011)

The Devil in the Skin (Original title: Le diable dans la peau) is a 2011 French Coming-of-Age drama telling the story of the strong bond between Xavier (Quentin Grosset) and his little brother Jacques (Paul François) and their struggle to remain together despite all odds. Directed by Gilles Martinerie, the film’s narrative and visuals are so cunningly crafted that watching it can be closely associated with an appreciation of a work of art.

When it comes to visual storytelling – all filmmakers’ aim – The Devil in the Skin is an exemplary movie. Starting with its cinematography — with the framing/compositing, lighting, camera movements –- no aspect of the cinematographic art is overlooked. A wider camera angle is used to capture the story settings, utilizing deep depth of field to capture the French countryside’s beauty to great effect and turning many of the film’s scenes into expressionist art – a pure visual delight.

The Devil in the Skin : stunning settings and a great composition — The Devil in the Skin: stunning settings and a great composition

The attention to small details is immaculate as well: drops of water on someone’s feet or the washing one’s hands. These are seemingly insignificant yet create a holistic picture – like the fitting together of puzzle pieces. Somehow they, along with the actors behaviour and actions, makes the characters very familiar to the viewer and easy to identify with. For example, in a scene of “doing nothing,” Xavier peeks at the sun through his fingers, insignificant on its own yet so wholesomely boyish. Combined with the tightly framed close-ups of the characters and selective focus, all of this achieves a sense of intimacy – so essential for any good Coming-of-Age narrative.

The close relationship between the two brothers is evident from the very first scenes.

The story itself is not that unique (the 2013 British drama The Selfish Giant comes to mind), yet how it is told and the ingenious photography makes one intrigued and moved despite the lack of any real suspense surprising plot twists. The film’s narrative can be perceived as a dramatic character study. It is an insightful portrayal of a troubled childhood in which the young protagonist is not idealized (as it is often the case with young characters in literature or the film) but portrayed true to life. Thanks to the wonderful acting of Quentin Grosset as Xavier and the skills of the film’s director Gilles Martinerie, that portrayal is more than intriguing to witness.

Usually, when I watch a film, in addition to identification with the characters and their fate in a Coming-of-Age narrative, I am looking forward to being moved – excited, saddened…etc. Any emotional involvement is to be treasured. Gilles Martinerie’s chooses an objective approach, achieving identification. Although such identification is often subjective, thanks to an abundance of similar experiences with my younger cousin, I achieved it, but with little emotional impact on me. The lack of emotional involvement can often ruin my enjoyment of a film – especially one with a disturbing, tragic overtone – yet surprisingly, this did not bother me as much in The Devil in the Skin. I loved the film, every minute of it and did not hesitate to recommend it highly.

Trailer

The Devil in the Skin (2011)

In short

The Devil in the Skin is a French Coming-of-Age drama telling the story of the strong bond between brothers.

Character/Acting

Score/Soundtrack

Cinematography

Storyline/Screenplay

Production

Direction

Reader Rating1 Votes

4.8

OUR RATING

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Coming-of-Age Motifs in Stranger Things

By now, you’ve likely either seen, or had to provide a justification as to why you haven’t yet watched, the new Netflix drama, Stranger Things. The show, set in small-town Indiana in the 1980’s, tells the story of the strange circumstances surrounding the disappearance of a boy, and the search to find him.

The show has received glowing reviews, and deemed “must see” TV. Thrill-seekers will love the rush of a good scare in the suspense and spookiness of the show, which pays homage to a number of 80’s shows that explored the supernatural (think E.T., Goonies, and Poltergeist).

Those of us who are old enough to remember the 80’s will enjoy the nostalgia-filled hour of each episode. But while those things may have attracted viewers initially, it is the Coming-of-Age stories playing out for two of the main characters that keeps viewers interested and engaged in the show. Placed in an inconceivably terrifying situation by supernatural forces, and let down by ineffectual adults, Mike and Nancy grow by measures in the course of a week.

Stranger Things Trailer

At the opening of the series, Mike is a typical (though nerdy) 12-year-old boy. He and his friends play Dungeons and Dragons, try to avoid being targeted by bullies, and all but ignore the existence of girls. The disappearance of his best friend, Will, and subsequent events, ignite a bravery that was likely always at the core of his being. When he discovers Eleven, the strange girl on the run from the “bad place”, his first instinct is to make his mother aware of her existence. At this point in the story, he is still a typical kid, steadfast in his faith that parents can fix all problems. As it soon becomes apparent that the adults in his life are not able to help, Mike emerges as a brave, compassionate preteen; confident enough to even reveal the romantic nature of his feelings for Eleven.

Mike’s older sister, Nancy, also matures throughout the season. We are introduced to her in the first episode as a girl on the verge of a transformation. Bolstered by a blossoming romance with a popular boy, Nancy is changing from a somewhat nerdy, “goody two shoes” to a girl with an elevated social status and rebellious streak. But the real transformation occurs when Nancy realizes that something terrible has happened to her friend, Barb. Spurred on by her desire to find and help Barb, Nancy is willing to shed her social status and alienate her boyfriend. Let down by both her mother and the police, both of whom she reports her concerns to, Nancy seeks out a social outcast and together they take drastic steps to try to find and rescue Barb and Will.

That Stranger Things is the hit of the summer comes as no surprise to those watching it. Despite the spooky details, at its heart the show is a Coming-of-Age story with mass appeal.

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Introducing Christian Lalama (2016)

Burn Down the Lonely Night

Greatest Day

Eleven

Hard Goodbyes: My Father (2002)

Do you know how to say Goodbye?

Introducing Ty Lewis

Ty Lewis on Twitter

My Best Enemy (2010)

“Even the smallest crawler can invade a cabbage”

Play (2011)

Baby Bump (2015)

Frailty (2001)

“Destroyin’ demons is a good thing. Killin’ people is bad.”

“There are demons among us. The devil has released them for the final battle. The war continues at the moment. But nobody knows it except us and like us…”

“I hated Dad’s God, and I would have run away if it weren’t for my brother. I just couldn’t leave him there.”

“I did a lot of thinking and praying after you went to bed. I asked the Angel to visit you, instead he visited me. He told me something… that I don’t want to believe.”

Jeremy (2010)

Last Ride (2009)

The Yellow Balloon (1953)

The Devil in the Skin (2011)

Coming-of-Age Motifs in Stranger Things