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 Vote

4.8

OUR RATING

More about the film

IMDB

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.

The Year My Parents Went on Vacation (2006)

In The Year My Parents Went on Vacation, the parents of 12-year old Mauro (Michel Joelsas) are forced to flee Brazil in 1970, months before the World Cup, due to their opposition to the military dictatorship. The plan was for Mauro to be left in the care of his Jewish grandfather, but an unfortunate turn of the circumstances leaves the little boy stranded by himself in the working class Jewish neighborhood of Sao Paulo.

The film is essentially a Coming-of-Age drama, yet its narrative also includes elements of humor and comedy, which results in an engaging cinematic experience. Yet the film mainly impresses, not with its story, but with the way the characters are portrayed – true to life, void of the unnecessary pathos so typical of Hollywood productions.

The Year My Parents Went on Vacation is characterized by a predominately subjective point-of-view, as the story is told through the eyes of its young protagonist (he also narrates some scenes (to inform the viewer with information about his family). The glimpses into his life – from the little things like collecting cards of soccer players, to his boyish mischief, discoveries and reactions to people and events (for there are several intriguing plot twists) result in a candid, yet effective, portrayal of his personality.

Michel Joelsas as Mauro in The Year My Parents Went on Vacation

As in most Coming-of-Age film the character of Mauro is a dynamic one. Having found himself in a new place surrounded by people he has never met before, the boy is forced to adapt and alter his personality, attitude and outlook on life.

His first encounter is with his grandpa’s grumpy old neighbor Shlomo (Germano Haiut). It is quite awkward due to their difference in age, culture and the abnormal situation and timing. Yet, as the story develops, the uneasiness of interaction and communication between these two characters disappears, resulting in a delightful portrayal of intergenerational friendship (with all of its good and not so good sides). At the same time, Mauro’s interactions with the other adults and kids in the neighborhood, especially with Hanna (Daniela Piepszyk) -a witty, streetwise little girl, provides even more insight into his character. All in all, the entire cast – both young and older actors — deliver an excellent performance.

Scene from The Year My Parents Went on Vacation

The production design is immaculate and, like the best period pieces (for through the eyes of the boy one gets a pretty good idea of the social, politic and cultural factors that shaped Brazil in the 70s), the film’s world feels vivid and real. The costumes and sets have a vintage feel to them which, combined with a subtle color scheme chosen by the film’s cinematographer, allows the viewer to see and experience the period in which the action takes place. This is successful despite the fact that some viewers, like myself, were not even born yet in the 70s.

The Year My Parents Went on Vacation Official Trailer

http://youtu.be/phXWKkxsrgs

While the action develops at a leisure pace, I can’t imagine that anyone would feel boredom The story is simple and complex at the same time, allowing viewers from various age groups to enjoy and appreciate it. Fans of the Coming-of-Age genre will particularly enjoy this film.

http://www.imdb.com/title/tt0857355/combined

The Year My Parents Went on Vacation (2006)

In short

4.8

Our rating

Where to Watch

Amazon

The Boy in the Mirror (2014)

Have you ever wished that you had a double? You know, as some famous people do, so they can avoid exposure to unpleasant experiences?

If the answer is “yes” and you happen to be less than fourteen years of age, you will quite likely enjoy the 2014 Brazilian film, The Boy in the Mirror (original title: O Menino no Espelho).

Based on a bestselling novel by Fernando Sabino, The Boy in the Mirror focuses on the adventures of a young Fernando (Lino Facioli – who also stars in Game of Thrones) and his gang. Fernando is quite an innovative youngster (reminding one of the ingenious ten-year-old protagonist of The Young and Prodigious T.S. Spivet), but his inventions get him in trouble with his parents more often than bringing him popular acclaim.

After a wild stunt with a homemade airplane, he gets grounded and, in his boredom, manages to get his mirrored reflection out into the real world – a boy just like him, or maybe it is him with the peculiar name of Odnanref (Fernando in reverse). At first, Odnanref is great to have around, but soon he becomes a nuisance and may even be a danger to Fernando (both Fernando and Odnanref are played by the same actor).

Fernando (Lino Facioli) and his faithful dog

If the plot summary sounds childish, it’s because it is. The film is undoubtedly aimed at the very young viewer, which is probably why so many of its scenes feel slightly dulled down to older audiences. The cast is adorable, and the production design leaves little to be desired – as the costumes and settings do their job of transporting the viewer to Fernando’s world. Unfortunately, however, the dialogue is quite stilted. There are some references to a secret society, which aims to establish military control over Brazil. But most viewers are unlikely to make much sense of it as it refers to a peculiar period of Brazilian history that most probably won’t be aware of (I sure was not).

Despite the wonderful appearance of the young cast, their acting performance is sub-par and one never gets to associate, sympathize and care for any of the characters they portray.

The film’s best feature is the nostalgic atmosphere it manages to convey: one of children playing outside instead of staring at a screen all day (OK, I know not everyone is like that). Yet, all in all, it fits nicely into the category of films that I like to call “time-wasters”: easygoing, simple, and forgettable.

The Boy in the Mirror Trailer

http://www.imdb.com/title/tt2343380/combined

The Boy in the Mirror (2014)

For the very young viewer

In this film undoubtedly aimed at the very young viewer, a boy manages to get his mirrored reflection out into the real world as his double.

3.3

Our Score

Get the DVD

Amazon

Cedar Street (2014)

“Even the smallest act of kindness can make a difference in the life of a hurting kid”

This message of friendship and compassion is acutely embedded into the narrative of the 2014 short film Cedar Street, written and directed by Monica Graves. Yet despite the best of intentions, the story fails to strike an emotional note with the viewer, which is essential if one is to take the fate of the film’s protagonist to heart.

The story opens in a flashback, with a grownup narrator. A young woman recalls the way she and her friends spent most of their summers: “torturing the boy next-door”, or rather teasing him, by making up pretenses to prevent him from joining the clubhouse of their “all girls club”.

The boy, Jeremiah (Xander Gosnell), then has no other option but to hang out in front of his house overhearing shouts from his mom and her latest boyfriend. The girls continue to tease him and finally announce that he may join their club, but only if he agrees to spend a night in the clubhouse located in the vicinity of an abandoned train tracks.

The film is well-scored and the paper miniatures used to mirror real world events are a nice touch. However there is a lot to be desired from the editing as it fails to introduce suspense and generally make good use of the miniatures, with the exception of the very last scene. Most of the cast performed reasonably well in their respective roles, even if at times the dialogue felt a bit stilted.

Cedar Street features good ideas with poor execution. Still, it’s worth seeing for the sake of its final message of compassion.

http://www.imdb.com/title/tt3889332/combined

Cedar Street (2014)

In short

1.7

OUR SCORE

Paper Planes (2014)

paperplanesfeatured — Hand with paper plane

You`d better have some paper ready to fold as you start watching Robert Connolly`s 2014 movie Paper Planes. It stars Ed Oxenbould (apparently one of the most prominent young Australian actors these days including the title role in Disney`s Alexander and the Terrible, Horrible, No Good, Very Bad Day), and tells the story of Dylan, a young boy who discovers a new passion in flying paper planes. Encouraged by his teacher, Dylan decides to try his luck competing: at the state, national and then world paper plane flying championship (to be held in Tokyo, Japan).

Dylan lives in a small rural village in Western Australia with his grieving father, who has lost the will to work or do just about anything after the untimely demise of Dylan`s mother five months before.

While only 12, Dylan realizes that, despite the pain, life must go on and wishes to help his father get a grip on his life. The relationship between father and son, and the overcoming of grief, become the main themes of the movie.

Although Paper Planes is an uplifting and entertaining film, it doesn’t shine with originality. Its simple plot essentially rehashes the narratives of a great many similarity themed Coming-of-Age flicks. Some examples that we’ve previously reviewed at theskykid.com are: The Rocket, Saint Ralph and Allez, Eddy!, Life According to Nino and The Stone Boy.

Dylan (Ed Oxenbould) and the bully/best friend

If not for the modern day references (kids buried in cell phones and electronic games), the story could have been set in the 80s, as the film does possess the aura of Coming-of-Age films set in those years (from bike riding, to props to the musical score).

With the significant predictability factor in place, it’s the actors who help give the familiar story a twist that doesn’t bore the film`s audience, with Ed Oxenbould especially succeeding at that. The functional speech disorder (lisping) of the young actor (which I wrongly labeled as an accent in my review of Alexander and the Terrible, Horrible, No Good, Very Bad Day) somehow adds another layer of appeal to his character, who otherwise appeared almost too good to be true – even if a great role model for a kid that age.

Some may look at it as a cheesy, forced attempt to inspire young audiences but, hey, it might work for some. Aside from Dylan, all the other characters are quite stereotypically portrayed: from the crazy old grandfather, to the cute Japanese girl (who becomes Dylan`s heartthrob), to the bully and finally to the over ambitious competitor.

The ending is in line with the rest of the narrative and comes across as a bit forced, yet not unexpected. Despite the film`s shortcomings, it doesn’t bore and I let myself be manipulated at least once responding to a touching scene between Dylan and his father. And I did fold my own paper planes, the quality of which doesn’t come even close to those in the film.

Therefore, I will say that Paper Planes is quite inspiring for predictable family friendly fare and deserves a chance to be seen.

Paper Planes Official Trailer

Paper Planes (2014)

In short

A 12-year-old boy finds a new passion in flying paper planes and tries to help his father deal with grief.

2.3

OUR RATING

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Evolution (2015)

When I first came upon the trailer of Lucile Hadzihalilovic‘s film Evolution, I was really impressed by the stunning beauty of its visuals. The trailer also manages to reveal the Coming-of-Age focus of the narrative (thanks to the frequent scenes featuring the film’s main character — an 11-year-old boy), and a slightly nightmarish prevailing mood.

Most of those first impressions were confirmed by the film itself, but I must admit that it could also fit the art-house category and that the predominant feeling that it aroused in me was one of confusion (and revulsion in certain scenes) as I had a hard time deciphering what was happening and wondering if the symbolic meaning of it was of greater importance than the happenings themselves.

Evolution Trailer

The setting is bizarre enough: a small isolated island inhabited by a commune packed with women and preteen boys (not a man in sight). A woman takes care of her boy – in what appears to be a mother-son relationship, but it soon turns out that first impressions could be misleading. To quote the infamous line from Twin Peaks: “The Owls Are Not What They Seem”. The children are free to roam around and explore – living what appears to be a normal (if Spartan-like) childhood and the action begins to unfold when the 11-year-old Nicolas (Max Brebant) discovers a body of another boy while diving in the ocean. Disturbed and distressed, Nicolas shares his discovery with his “mother” (Julie-Marie Parmentier), only to have it dismissed as a product of his imagination. Sure enough, when they go to look for the body on the next day, it has disappeared. Maybe there never was a body.…or maybe someone took care of it…

Nicolas (Max Brebant) and his “mother” (Julie-Marie Parmentier)

Soon after, Nicolas is sent for treatment in a desolate clinic where strict nurses conduct horrid experiments with the boys under the pretense of curing their illnesses. Feeling (and looking) perfectly healthy, Nicolas begins to suspect that he and his friends are being lied to and decides to investigate further. His discoveries eventually reveal the truth about the “mothers”, the kids and the absence of teenaged or adult males, but also puts him on a collision course with the norms and expectations of the society to which he belongs.

Admittedly, despite the visually stunning cinematography with its incredible underwater footage and attention to details, the ambiguity of the narrative resulted in a slight feeling of boredom. Evolution is a film that can only be fully appreciated if one is willing to give a lot of thought to the happenings on screen and their meaning. So, in my case, I found myself appreciating the film more now, as I write about it, than while actually watching it.

The mise-en-scène of Evolution (the arrangement of everything that appears in a film– actors, lighting, décor, props, and costume) is impeccable and aided by a sinister, tension building musical score that manages to set a persistently mysterious (sometimes nightmarish) tone throughout its duration. This places the film in the art-house horror category with the likes of Severin Fiala and Veronika Franz‘s 2014 movie Goodnight Mommy (Original title: Ich seh, Ich seh). Having said that, the movie has important Coming-of-Age motifs as we observe the young Nicolas embark on a quest to discoverer the mystery of his surroundings and his making of decisions that are guaranteed to strongly affect his future.

The young Belgian actor Max Brebant (who first appeared in The White Ribbon) delivers an excellent performance, allowing the viewer to sense his confusion and fears which, if the plot was slightly less ambiguous, would have impressed even more than it already did.

All in all, I hesitate to wholeheartedly recommend Evolution. It’s a piece of independent cinema that is likely to appeal mostly to a niche audience – people interested in filmmaking per se, people enjoying mental puzzles and die-hard fans of the Art-House stylistic. The Coming-of-Age motif was not enough to make me like the film as much as the polished fantasy of Spielberg’s A.I. (to give an example with a widely popular title) and even the German Goodnight Mommy. The film is also unsuitable for younger audiences who will be either too scared or repelled by some of its scenes, as well as to die-hard horror fans.

Unless you are in one of the categories I mentioned above, I would skip this film in favor of one with a more consistently told story.

http://www.imdb.com/title/tt4291590/combined

Evolution (2015)

In short

A film from the art house horror genre with Coming-of-Age motifs. Not for the faint hearted.

3.8

OUR SCORE

Where to watch

Amazon UK

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TheSKyKid.com

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Evolution (2015)