Cub (2014)

Coming-of-Age horror flicks are not very common, and “Slashers” even less so. That’s why the 2014 Belgium film Cub (original title: Welp), written and directed by Jonas Govaerts, is quite the discovery.

It’s got all the usual elements of the Slasher genre: gory scenes, psychopathic killer, surprising plot twists – interwoven with the story of Sam (Maurice Luijten), a young troubled boy who has joined the Cub Scouts on a camping trip during which everything that can turn bad – does!

If you are not a fan of the genre, Cub can get on your nerves with the way the narrative switches its focus from the very first scene on. From what at first promises to be a Boy Scout adventure, the story develops in an unforeseen direction when the scary tall tale the Scout leaders have created to make the trip more interesting turns out to be more real than anyone could imagine. Although some older teens may appreciate the film, the amount of violence in it makes it completely unsuitable for younger audiences or sensitive viewers.

Despite a cliché-ridden narrative that is confusing at times, the film doesn’t get boring mostly thanks to the fact that one is constantly trying to figure out what is really happening. The visual resemblance of Maurice Luijten to River Phoenix, from the latter’s Stand by Me days, will have appeal to a lot of fans of Coming-of-Age movies. And that’s especially so when you take into consideration that the talent of both actors shines throughout the whole duration of their respective films (even if Cub is not likely to be anywhere near as successful or as well known as Rob Reiner’s cult film).

The Coming-of-Age features of the film are mainly in the form of the friendship between Sam and another boy from the Scout troop. Other Coming-of-Age characteristics of the movie involve bullying, the desire to fit into the group and the need to change in order to survive.

If you are in for a twisted story – Cub has one for you. Yet the brutality of some of its final scenes makes me hesitate to recommend the film. I would not be surprised if there is a “mild down” US remake in the near future – and it might be wiser to wait for it.

Official Trailer

http://www.imdb.com/title/tt3061836/combined

In short

A young troubled boy joins a Cub Scout camping trip during which everything that can turn bad – does!

2.8

SkyKid`s Rating

Watch on Demand

Amazon Video

Alexander and the Terrible, Horrible, No Good, Very Bad Day (2014)

If you are looking for a light-hearted comedy (the kind one would expect from Disney) with an bright young actor in the lead role — look no further than Alexander and the Terrible, Horrible, No Good, Very Bad Day. That’s quite a long title for a film – but it certainly catches one’s attention.

Narrated in the first person by its protagonist, 12-year-old Alexander Cooper (Ed Oxenbould), the film focuses on a day in his life and the life of his family. And not just any day , but on one that is “Terrible, Horrible, No Good, Very Bad”.

In middle school one faces a lot of challenges and, at the age of 12, things can get overwhelming at times: no one seems to understand you and things don’t always go your way. So it’s only natural that, in that situation, a kid would wish that everyone around him would have the same kind of messed up day that he’s having…

But one has to be careful with wishes — for sometimes they come true!

The plot is a loose adaptation of the 1972 children’s book of the same name. In fact the adaptation is so loose that you could say that the film was merely inspired by the book. The action is set “now-a-days” and the result is a modern Coming-of-Age comedy. The narrative is filled with references to first love, peer pressure, the desire to be popular (or at least not unpopular — if that’s even an option), friendship, text bombs, phone apps and all the rest of the things with which today’s youth grow up.

Alexander and the Terrible, Horrible, No Good, Very Bad Day shares a lot of similarities with both the Diary of A Wimpy Kid films and the American sitcom The Middle. And, while it doesn’t impress with high cinematic or narrative values, it’s guaranteed to bring a smile to your face. All in all, Alexander and the Terrible, Horrible, No Good, Very Bad Day is a family film that doesn’t fare well with repetitive viewings, but is fully capable of engaging audiences of all ages on a Friday evening.

The entire cast delivers outstanding performances, despite the fact that they have to portray rather stereotypical characters. Ed Oxenbould, in particular, is amazing as Alexander and one really gets involved with him and the misfortunes of his family. The now 13-year-old Australian actor appears to really get the mindset of his character (no wonder) and that really shows. His accent makes his character even more adorable, even though I imagine some viewers may find it a bit of an annoyance.

I enjoyed the film for what it is: a fun little flick. That being said, I can’t help but wonder why the rating on IMDB is not higher — other than the possibility that fans of the book might be disappointed that the film doesn’t follow closely enough with it and have viewed it with the wrong expectations.

Still, you will be better off seeing the film and making your own judgement. It has all the ingredients a Coming-of-Age comedy should have.

Official Trailer

The Value of Coming-of-Age Movies

Transition into Adulthood

Coming-of-Age films fall into a genre of films with plots revolving around a young person’s transition into adulthood. Essentially, it’s all about growing up and self-realization, a concept that can be illustrated through a powerful dream (The Wizard of Oz) or self-discovery among young adults (The Blue Lagoon). Most films within this genre portray an endearing transition from childhood into a world where grown-up decisions need to be made, with the Harry Potter series serving as a perfect example.

The joys and pitfalls of growing up in Boyhood ( 2014) — The joys and pitfalls of growing up in *Boyhood*

The Values

The values associated with Coming-of-Age movies may include some sense of moral responsibility that comes with developing an awareness of romantic feelings. Some movies, like Father of the Bride, carry these moral values through so-called conventional steps of adulthood, in this case getting married and, in the sequel, having children.

Humor is often used to deal with the sense of having more freedom to make decisions that comes with growing up, even if it’s decisions that turn out not to be all that well thought out. For instance, Ferris Bueller’s Day Off tells the tale of a kid who uses his wits to skip school, doing his best to keep his parents and other authority figures clueless in the process. There’s usually some lesson concerning the concept of right and wrong, typically illustrated through a course of events that involves things going horribly – or humorously – array before some sort of resolution occurs.

Scene from a classic Coming-of-Age film Stand by Me (1986) — A scene (featuring Wil Wheaton and River Phoenix) from a classic Coming-of-Age film *Stand by Me*

Life lessons

Life lessons tend to be another hallmark of Coming-of-Age movies, with a younger person typically learning an important lesson from a parent or other influential adult, as with The Karate Kid movies. In some cases, important realizations about life come from self-reflection that’s spurred by making mistakes and learning from them or simply engaging in a discussion that includes some type of self-awareness. The Breakfast Club (which celebrated its 30th birthday this week) is about a group of kids from different walks of life spending a Saturday in detention, and is a perfect example of this type of Coming-of-Age film. Movies like Less Than Zero (about drug use) dig a little deeper by presenting a moral lesson by showing the consequences of living a certain lifestyle.

My Life as a Dog (1985 )- A coming-of-age story filled with depth and sensitivity — *My Life as a Dog* – A Coming-of-Age story filled with depth and sensitivity

The process of transitioning from childhood to adulthood is, by nature, something that takes place over time through a series of events spread out over time. However, any major life lesson can be considered a Coming-of-Age moment, with a particular moment being the main focus of a movie. With Bambi, for example, the death of the young deer’s mother provides an introduction to a world that’s not always safe and sheltered. Forrest Gump, on the other hand, is an example of how values can be learned from the process of growing up and experiencing new things over time.

A new sense of purpose

Coming-of-Age movies tend to address different audiences with themes appropriate for a particular age group. The ultimate value of Coming-of-Age cinema is to tap into common emotions and provide a clear example of life decisions that can either turn out to be wondrous discoveries or life-changing events that can offer a different perspective or a new sense of purpose.

Always Number One (2009)

A competitive spirit is important – but in life, one may often find higher value in compassion. That’s the main theme of the 2009 film Always Number One (original title: Immer Nummer Eins). Directed by Stefan Schneider, the made-for-TV short film tells the story of the encounter of Florian (Miguel Jachmann) and Daniel (Tim Scholtes ) — two pupils at a German boarding school.

Daniel is a newcomer to the school, and, as does every kid in his situation, he tries to fit in by being helpful and friendly. However, Florian (whom Daniel has been assigned as his roommate at the school) sees Daniel as a threat to his own peer status. He tries to take advantage of the newcomer, but his plot fails thanks to his new roommate’s creativeness.

The competition intensifies when Florian finds out that Daniel is a great runner and is a threat to his “number one“ status in the school’s races. Daniel’s nerves are on edge, and he decides to do all that it takes to stop the newcomer from winning the next school race. Yet he has to learn that:

“You often meet your fate on the road you take to avoid it.“

Always Numer One`s cinematic qualities do not exceed the level of most low-budgeted television productions (as opposed to those of most big-screen movies). The overuse of the music score is annoying at times. Yet the excellent portrayals of the young actors (both newcomers to the cinema), and the moral values of the story, more than compensate for the few flaws of the film.

German short movies have a nostalgic value for older audiences and are inspirational for younger ones—all-in-all a good choice for the entire family.

Finn (2013)

“A life without dreams is like a garden without flowers.”

Self-expression has always been one of the main themes addressed in Dutch movies. It is also one of the main motifs addressed in Finn (2013). Like the winner of the Young Audience Award, Kauwboy, presented by the European Film Academy in 2012, in Finn Frans Weisz features an unpretentious, yet moving story.

The main protagonist is a sensitive nine-year-old boy (Mels van der Hoeven) who lives with his father Frank (Daan Schuurmans). Visual cues (and also those given in dialogue) fill in the details of Finn`s life– like the absence of a mother (passed away at childbirth) and the desire of the father to set a straight course for the life of his son:

“You’re a normal Dutch boy who likes to play soccer and that’s that….I don’t want you to become a loner.”

It soon becomes clear that the physical absence of the mother does not translate into a spiritual one as Frank`s memories and/or grief play an important role in his interactions with his son.

One day, on his way to school, Finn follows a crow to an abandoned farmhouse – where Finn sees an image of his mother, smiling – magically summoned by an old man playing a violin.

Enchanted by the image of his late mother and the music of the old man (a wizard in the boy`s mind), Finn decides to ask him if he would be willing to give him violin lessons. The old man reluctantly agrees, but not before warning the impressive boy that excellence requires:

“Practice, practice, and more practice. You’ll have no time left. Not for your friends, for nobody.”

A price Finn is willing to pay.

Against the will of his father (who sends the boy to a soccer practice), the boy decides to spend his time with the old man learning violin. He does this in secret, but eventually his father finds out and his reaction forever changes both his life and Finn’s…

Finn (Mels van der Hoeven) taking lessons from the "wizzard" (Jan Decleir) — Finn (Mels van der Hoeven) taking lessons from the “wizard” (Jan Decleir)

The fairy tale like opening sequence made me think that the film might end up being a fantasy – similar to the 2002 German flick Help, I am a Boy/Hilfe, ich bin ein Junge. Yet, soon I started to question my initial impression as the story began to develop in a logical, realistic manner. The supernatural atmosphere and nuances were still present, but in an intriguing way they enhanced the feeling of authenticity in the story. The film takes an intriguing approach in portraying Coming-of-Age, building of character, bullying, father-son and inter-generational relationships and — last, but not least — the issues of dealing with death and grief.

Finn is filled with messages which are effectively exposed to the viewer thanks to the creative plot interplay and the appreciation that viewers of all ages are guaranteed to feel as the story develops.

Recommended!

Trailer

Oscar et la Dame Rose (2009)

Oscar (Amir Ben Abdelmoumen) is only ten years old and he is in the hospital with one of the most vile diagnoses – Cancer. Everyone is preoccupied with him; all the doctors and nurses are willing to go an extra mile, just so his wishes are granted and mischiefs forgiven. Yet, they are committing the biggest mistake, at least in Oscar’s eyes, by refusing to be honest with him. This saddens the little boy, as no one laughs at his jokes or gets annoyed at his pranks – his condition makes the entire hospital staff treat him differently than the other patients. He is angry with his parents too, for changing, for not being the persons he knew:

“My parents are two whackos, two total idiots with no conversation since I’ve been sick. I don’t want to see them now. I’d rather remember the time when they could say I love you without sorrow.”

One day, while walking in the ward, he meets a lady dressed in pink. She is so unlike the rest of the adults in his life – scolding him and another patient on her way to deliver pizzas or try to sell them in the hospital. She is quite pragmatic and doesn’t fool around, which immediately attracts Oscar. He demands to see her. But the doctors, who are worried that he is closing himself in and refusing to talk to most adults agree to ask her. When contacted by the doctor, the woman reluctantly agrees to spend some time with Oscar – twelve days – the last twelve days of his life. Unlike the rest of the adults in Oscar’s life, the lady in pink does not attempt to deny the fact that Oscar has little time to live. When she first visits him, she tells him that he should “live each day as if you lived 10 years”, thus giving him (and the viewer) the opportunity to become acquainted with each stage of life. From that first day on, she spends time with him every single day. They develop an unconditional friendship as she teaches him about life…each day…”each ten years “.

This is the story, told in the film, based on the novel by Eric-Emmanuel Schmitt Oscar et la Dame Rose (Oscar and the Pink Lady). It’s a film filled with sadness and love. While watching Oscar in the hospital, you will become emotionally attached to him. It happens despite the fact that you know how the story will end, as does Oscar. The film is a co-production of Canada, France and Belgium. Oscar et La Dame Rose is probably the most touching film you will ever see. Some scenes are abstract, fantasy-like with visual style and a narrative typical of the French cine. Others scenes are theater-like, which is not suprising as the book was first adapted as a play. Close ups, time lapses and brilliant acting complete the cinematography magic created by the Eric-Emmanuel Schmitt (who wrote the novel and directed the movie).

Oscar et La Dame Rose is a touching film: beautiful, sad while full of wisdom. It’s unlikely that you will finish watching it without tears in your eyes. While some may prefer to skip this film, claiming that movies are supposed to only entertain and they don’t need more sorrow in their lives –yet even to them I would not hesitate to recommend the story of the Oscar. It is one you won’t forget long after the final credits roll…

Film title: Oscar et la dame rose
Alternative title: Oscar and the Lady in Pink
Release year: 2009
Director: Eric-Emmanuel Schmitt
Cast: Michèle Laroque, Amir Ben Abdelmoumen, Max von Sydow, Amira Casar, Mylène Demongeot, Constance Dollé, Simone-Elise Girard, Benoît Brière, Mathilde Goffart, Thierry Neuvic

Bringing Up Bobby (2011)

“I am an Eastern European. We take life as it is – an opportunity. You Americans- it’s all discipline, discipline, discipline … Not very much fun like that”

Movies are supposed to be universal – or are they? An East European myself, I believe that the story in the 2011 film Bringing Up Bobby could potentially be perceived differently by people from that part of the world versus how Americans view it.

A mother and son are the protagonists of the story. She is a Ukrainian woman chasing the American dream alongside her son who was born in the USA. Roads to happiness vary and she has chosen the immoral/illegal one – a con-woman, taking advantage of naïve Americans in the wilds of Oklahoma.

Wait! Naïve Americans? Isn’t that a cliché? If it is, it’s by far not the only one in the movie. A religious community filled with naïve people who would believe just about anything, fanatics quoting the bible every chance they get, rich people with golden hearts – and the American dream itself – that’s the way many Europeans imagine life across the ocean. Clichés and stereotypes are wrong and have the potential to ruin a movie. But, in this case because of them, Bringing Up Bobby feels so refreshingly funny (to Europeans anyway and anyone else with sense of humor).

An amazing soundtrack

The first things that will impress you when you see the film will be the delightfully bright colored scenes and the amazing soundtrack. The color-filled scenes are typically a feature in European films – French and Scandinavian in particular – which is why it did not come as a surprise when I found out that the film is a Dutch co-producion and that its cinematographer, Guido van Gennep, is also Dutch.

The soundtrack: a score that kicks in with a cover version of Proud Mary can’t go wrong! It sets the mood – welcome to America! From this moment on, the surprises keep coming – Jazz (but of course), Country, but also beautiful ballads in Ukrainian.

Spencer List as Bobby and Milla Jovovich as Olive in Bringing Up Bobby

Annoying, or innocent and cute

So the film has great cinematography and a great soundtrack. But it’s the charisma of Milla Jovovich (Olive) and young Spencer List (Bobby), in wonderful performances in the lead roles, that will win your heart. Milla Jovovich’s overly exaggerated character perfectly fits the image of a woman who knows what she wants and how to get it. Jovovich is herself a Ukrainian, and the actress did a terrific job sneaking in phrases in her native language. Spencer List’s nuanced portrayal of the eleven-year-old Bobby as both a spoiled brat but also, when appropriate, as a smart and vulnerable kid, is clear evidence of his acting abilities. Whether the young Bobby is perceived to be annoying, or innocent and cute, is entirely up to the viewer. I was so hoping to hear him speak in Ukrainian but, alas, that did not happen.

The story itself doesn’t shine with originality, but it’s entertaining never-the-less. The film is listed as a drama but, to me, it really is more of a Coming-of-Age comedy in which both the son and mother have to find a way to adjust themselves to society and its regulations. Or, better said, the film starts as a comedy (in the style of Bonnie and Clyde) and then transforms into a Coming-of-Age drama, losing some of its appeal along the way (I admit I liked it better before the change over).

Bringing Up Bobby failed to involve me emotionally, but evoked quite a few smiles and that’s where its appeal lies.

Bringing Up Bobby (2011) Official Trailer

Introducing John Robert Rimel

Sometimes discovering a new singer can be like piecing together parts of a jigsaw puzzle! That’s the case with John Robert Rimel (14), a young artist from the Shenandoah Valley in Virginia.

About four weeks ago, JR had approximately 350 Twitter followers, but that number has rapidly risen to over 3K!

An appearance on The Ellen DeGeneres Show (March 13, 2014) gave him a popularity boost, as did his recent song I Just Want to Love You recorded in collaboration with young star MattyBRaps (who was first introduced here in January 2010).

A Voice Purist!

While checking out his guitar skills and voice, I came to the conclusion there must be a further appeal to JR! His good looks? His quiet, confident aura? Then, in a recent conversation on Twitter, I stumbled upon something I was missing. John Robert is a Voice Purist!

He wants to keep his recordings simple, unembellished with audio make-up, so that his public appearances will be true to the audio of his online videos.

It’s a noble idea! But one that he can maintain for how long? As JR’s popularity grows, studios will be eager to record him, and that with the finest audio creativity possible. Still, I have to give him credit for this original idea.

Another bit of the puzzle is JR’s fan appreciation. Daily, there are handwritten “Thank You” notes to his new followers on Twitter as well as answers to questions — both of which show responsibility and diligence!

“Still Working! New #ThankYouForFollowing List Today! Who have I Missed? Let me know! Thank You All! : )

— John-Robert (@jrrimel) January 6, 2015”

John Robert has been doing local performances but also has a fixed date on the first Saturday of each month as a cast member in the Shenandoah Jamboree Show.

Looking for more answers, I had a listen to quite a few of his online videos. JR assured me he was recording without a program, simply using a handheld camcorder. In Riptide (Vance Joy cover), JR sings live in a pleasant lyrical voice, accompanying himself on guitar, the song memorized.

Achieving His Own Fame

Less convincing is a cover of All I Want (Kodaline) with a thin, wispy, whining voice that does not impress.

From January 2013, JR does a live cover of Oklahoma (Billy Gilman) which is nicely sung but a touch too tender and sweet for my taste.

The only original song to date that one can find is Daydreamer, recorded in September 2013. I quite like this song. Again, very sensitive, with a cool pace change to the chorus. It’s about yearning to be on stage amongst those Hollywood stars and achieving his own fame.

A Lyrical Ballad Singer

Rimel is a lyrical ballad singer with some soft rock covers thrown in. We can see JR’s confidence growing in the live cover of The Kooks’ Naive, recorded at the Bright Box Theater in Winchester, VA. There is more power and projection to his voice here, and a strong slap-strum guitar style in a song about an uncertain relationship. I like this brighter more vibrant style.

Bless the Broken Road (Rascal Flats) is a no-frills, in-house cover that once again reveals JR’s sentimental nature. There are many more covers of course.

So the puzzle remains incomplete and I have to point out that this is a young artist developing his skills. Appearing on The Ellen DeGeneres Show does not carry automatic stardom with it. Improving his guitar skills and singing might! One thing is certain, JR has the determination and intelligence to make a name for himself in the future. And I hope that is what will happen.

A Handful of Grass (2000)

“Stay away from anything that stains your soul.”

I was looking for a darker and more realistic Coming-of-Age themed film and, after checking a dozen titles that I dismissed for being either too childish or for possessing debatable quality, I found just what I was seeking in the 2000 German-Iranian co-production of A Handful of Grass (Eine Hand Voll Gras).

The film is a drama based on actual events (screenwriter Uwe Timm found inspiration in a newspaper article), and tells the story of a 10-year-old Kurdish boy named Kendal (Arman Inci). Kendal leaves the small village where he lives to accompany his uncle to Germany. The uncle has promised to take care of his nephew and even find him work so that he can help his family organize the wedding of his older sister.

“He will do well there. And the work is easy, easier than here.”

From this moment on the viewer witnesses Kendal’s struggle for survival, as the boy finds himself alone in a foreign land when his uncle is arrested on suspicion of drug trafficking. The little boy finds an unlikely friend in a taxi driver who cares for the boy until the uncle (now released) comes to collect his relative.

Arman Inci as Kendal in A Handful of Grass — Arman Inci as Kendal in *A Handful of Grass*

Unfortunately, despite his hopes, things go from bad to worse when we discover that Kendal’s uncle plans to use the fact that the boy is below the age of criminal responsibility and will involve Kendal in his shady business.

While the plot is somewhat predictable largely due to the clichéd characters and stereotypes (of Germans and immigrants), the film is both enjoyable to watch (thanks to the funny scenes portraying the first experiences of Kendal with household appliances unknown in his world), but also heart wrenching due to the harsh reality the boy has to live in.

The film doesn’t spare its viewers the nastiness of the underground criminal world of Hamburg as perceived through the eyes of a little Kurdish boy, or the helpless situation the boy finds himself in due to the inefficiency of government institutions. It’s impossible to remain indifferent to the fate of little Kendal thanks to the skillful portrayal of his character by young Arman Inci. The facial expressions of the young actor – from awe, to sadness, to fear — reflect his inner world and contribute significantly to the emotional effect of the story. As in many a Coming-of-Age tale about innocence lost, one is prepared for the possible developments, yet is still likely to find himself/herself moved nonetheless. I know I was.

The overall stylistic of the scenes filmed in Germany, as well as some of the motifs of the story, offer the viewer reminiscences of Christian Wagner’s 2002 movie Ghetto Kids. Rough-grain film stock is used in some scenes to achieve the coarse look of a newsreel, capturing events as they happen. Portraying real-life scenes with disturbing authenticity is a frequently used method in German Coming-of-Age films.

Overall, A Handful of Grass is a poignant drama that is intriguing enough to make most viewers dismiss its plot’s clichés, underdeveloped characters, and sub-motifs. It’s a film that can genuinely move you — often bringing a smile or a tear to one’s face. It deserves to be seen, and I recommend that you do that.

Trailer ( in German )

Author’s Note: The DVD contains English Audio Track

IMDB

Night Has Settled (2014)

Before delving into the review of Night Has Settled, I should disclose that I have been looking forward to this film for a long time – long before the title change that turned Spaz into the current one. There are two main reasons for my big anticipation: actor Spencer List (brilliant in the funny 2011 comedy-drama Bringing Up Bobby); and the supposedly controversial plot.

I expected it to be controversial after reading the following synopsis:

“Oliver Nicholas, thirteen-years-old, is well-poised to enter the precocious teenage world of first-sex, vodka and possible-love in New York City.”

My expectations led me to believe that Steve Clark‘s film will be either as provoking as the 1995 film Kids, Catherine Hardwicke`s Thirteen; or perhaps as heartwarming and touching as Mark Levin’s Little Manhattan (first-love concerning). Instead, unfortunately, the film turned out to be an utter disappointment.

My biggest issue with the Night Has Settled is the lack of any coherent theme. The film’s primarily focus lies with the development of the character of Oliver (Spencer List), a free spirited 13-year-old boy whose favorite hobby appears to be masturbating (when not smoking or partying hard with his friends ). Add to that overly frank conversations with his flamboyant single mother and a lot of casual swearing and you will understand why “What the …” is likely to be the most common thought in the minds of older viewers, though some teens are likely to enjoy the ludicrous happenings that take place in the film.

Spencer List as Oliver in Night Has Settled (2014) — Spencer List as Oliver in Night Has Settled

I have previously defended the use of foul language in youth cinema if it’s done with authenticity in mind (you can refer to my review of Christian Molina’s 2010 film I Want To Be A Soldier). Yet somehow I can`t ascetically justify most of the dialogue and scenes in Night Has Settled. They did little for the dynamics of plot and character development (surprisingly mediocre in a Coming-of-Age flick) and appeared to only be included for some kind of sensational, scandalous effect.

We all get that adolescent life is complex. But, a bit of a focus is beneficial when making a film about it. Without that focus, one gets confused and frustrated and, instead of associating with the character and his dilemmas, one is likely to keep looking at the watch and wondering when the film will end.

Actor Spencer List was 13 when he played his character of the same age

It pains me to slam a film in my favorite genre like this, especially since Spenser List managed to bring forward his best in the different situations he found himself in. But the poorly written script leaves me with no other option. If only his character was better developed, or if director Clark had decided that he wanted his film to be a drama or a controversial and disturbing film about youth (ala Kids). Instead, the dramatic overtones of the story failed to evoke any real emotions and, by the end of the film, one would have to think hard before finding a reason to recommend it.

Technically the film left a lot to be desired — from the overuse of slow-motion scenes to the musical score – which, most of the time, did not feel natural. Much of the dialog is in Spanish (since Oliver’s babysitter (a mother figure to him despite having his real one in the house) is from Chili. Yet, aside from the pleasure derived from hearing Spenser List speak the language, this will tend to annoy most viewers and is somewhat untypical for middle and upper class New Yorkers.

Trailer

As an open-minded reviewer (bordering on insane if you ask some readers) and as a fan of the Coming-of-Age genre, I very much wanted to like Night Has Settled – but did not. I didn’t hate it either, but I was just disappointed …that such a theme and talented young actors were utilized the way they were.

In an interview for the Santa Barbara Independent, director Clark mentioned that the story comes from his own experiences growing up and that he had written a script 10 years ago before deciding to rewrite it from scratch. I’m somehow left with the feeling that his initial draft could have resulted in a much better film.

Wishin’ and Hopin’ (2014)

Felix Funicello (Wyatt Ralff) in detention.

Who doesn’t love witty Coming-of-Age stories? Especially the uplifting kind that one watches with a smile on the face from start to finish. It’s no secret – I love them!

Based on a best-selling novel by Wally Lamb, Wishin’ and Hopin’ is a delightful comedy flick with with a cast led by its adorable young protagonist: 10-year-old Felix Funicello (Wyatt Ralff). A fifth grader at the St. Aloysius Gonzaga Parochial School, Felix is doing his best to navigate the perils of a Catholic education and an adolescent social life involving girls (“in fifth grade, if a girl really liked a guy she will make his life a living hell”), kisses (even the kind that “make Jesus very, very, very sad”), friends and public appearances and beautiful role models to look up to.

Whether you attended a Catholic school or not (“It’s always the same — Jesus Good, Satan Bad”), the hilarious and provoking story of young Felix would pull your heart strings and take you on a wonderful trip back to your childhood (unless you are still a child, in which case associating with the hero of the story would be even easier).

The flavor of a novelistic, first-person point of view is provided by a voice-over narration that offers wit, ironies and insights of the inner world of the young Felix. The narrator (Chevy Chase) is actually the older Felix, who does a great job juxtaposing the life knowledge of adulthood with the innocent universe inhabited by his younger self. Adapting a novel to the screen could be a challenging task, yet screenwriter John Doolan and director Colin Theys did a marvelous job of bringing the story to life.

Scene from Lifetime`s Wishin' and Hopin' — Scene from Lifetime`s Wishin’ and Hopin’

The film has hardly any flaws – from the great production design that combines retro costumes and settings, with top-notch cultural references (the action is set in the 60s), through the charismatic bundle of actors (young and old) portraying even some of the stereotypical characters in a unique, delightful and authentic way.

Wishin’ and Hopin’ s story is filled with sudden reversals or backfiring of events and original jokes (topping even those from Diary of a Wimpy Kid) that are guaranteed to keep you entertained for the duration of the film. (I can`t wipe the smile off my face even as I write this review). It is advertised as a Christmas film, but it can really be enjoyed at any time of the year. Such uplifting stories are always welcome to brighten up our everyday lives.

Recommended!

TV Spot

Clement (2001)

That teenage boys are fascinated with women is of course a truism (at twelve I had a poster of Pamela Anderson in my room), albeit cinematic portrayals of youth sexuality have always been subjected to a significant amount of controversy.

Few screenwriters and directors explore the male libido of youth, though its development is undoubtedly a universal Coming-of-Age experience. Exceptions are the silly comedies with little value of their own. Historically, it’s been predominately European filmmakers such as Frederico Fellini (8 1/2), Giuseppe Tornatore (Malena) and Bigas Luna (The Tit and the Moon) who have dared to address the thematic in a true-to life, honest manner.

The French actress, film director and screenwriter Emmanuelle Bercot wrote, directed and acted in the 2001 film Clement, addressing the controversial subject matter of a relationship between a teenaged boy and a much older woman. She did so in an authentic manner avoiding any false pretenses or clichés, which might very well have been the case if Clement had been released by an American production company instead of a European one.

Clement is a controversial film, not only because of its subject matter, but also because some of its scenes may be deemed inappropriate for younger audiences. At the same time, one of its lead protagonists, Clement (played by Olivier Gueritee), is a 13-year-old boy who’s perception of the world changes as he learns about the importance of feelings, trust and making one’s own decisions. Despite the fact that the film is named after his character, the story is told predominately from the point of view of the 30-year-old female lead Marion (Emmanuelle Bercot).

She is older, but with an adventurous spirit. Unfortunately, utterly confused from the teenage boy’s attention, she allows her emotions to take precedence over common sense. Falling victim to emotions doesn’t make her an antagonist, yet it does lead to a dysfunctional relationship with Clement who, as is the case with most younger teenagers, is still learning to handle his sexuality and is utterly unprepared for many of the aspects of adulthood. The choices both protagonists make result in moral consequences that harshly affect their lives.

Cinematographically, Emmanuelle Bercot`s movie is a disappointment. The camerawork leaves a lot to be desired as some scenes are not properly lit while others, recorded with a hand held camera in an attempt to boost the film’s sense of a realism, only provoke a sense of vertigo in the viewer. At the same time, absence of score (in all but the very last scene) is beneficial for the film as it does help people to concentrate on the story itself. The film is shot with a documentary authenticity, relying more on its strong narrative and on character interplay to build its dramatic tension, rather than on visual craftsmanship.

Clement features undoubtedly one of the most divisive depictions of a relationship in the contemporary cinema. Yet it does so in an original manner with a close focus on its protagonists, which makes it a Coming-of-Age film with value that no fan of the genre should miss.

Clement was screened at the 2001 Cannes Film Festival and subsequently aired on the French television channel Arte.

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