Tag Archives: teen

Waves

21 Nov

‘Waves’: In haze of dazzling Florida sun, tragedy threatens to pull a family under

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Like the entity of its title, “Waves” moves in crests and crashes, mostly that of the fates and emotions of its characters, and the profound and lingering impact of those actions. Wunderkind filmmaker Trey Edward Shults (“Krisha,” “It Comes at Night”) immerses us in the ebbs and flows of life of an African American family in South Florida in a way that feels like cinéma-vérité, but the beginning and end – a girl riding a bike along a serene esplanade – bookends the film with poetry and purpose.

Following that scene of tranquil innocence, we jump into a car full of teens joyriding across a bridged expanse, the sky above and water below both impeccably blue as music blares on the radio. The camera, seemingly hung disco ball style from the roof of the SUV, swirls around and around as we catch glimpses of happy faces singing along and legs, arms and heads lolling out the window. It’s a scene of pure, energetic joy, but glorious and uplifting as it is, there’s an imminent undercurrent of fragility and peril.

Two of the teens, Tyler (Kelvin Harrison Jr.) and Alexis (Alexa Demie, from the TV series “Euphoria”) make a tumultuous pair. When it’s good, it’s great, but ripples in the relationship lead to bigger ramifications. Tyler’s a rock star of a wrestler with a shot at a college scholarship, something his controlling father, Ronald (Sterling K. Brown), drills into him on a daily basis, making him do extra weight training after practice and breaking down his technique ad infinitum – after one or two of these life coaching lecturers, you too will want to slip away to your room. The first setback for Tyler comes in a potentially career-ending shoulder injury that leads to the use of alcohol and drugs to cope. Then Alexis mentions the words: “I’m late.”

How that conundrum is wrestled with (and it takes wildly unexpected turns) arrives early in the film; then there’s a dramatic focal shift to Tyler’s kid sister, Emily (Taylor Russell), who struggles in the aftermath but ultimately finds comfort and romance in the company of Luke (Lucas Hedges), another wrestler and something of a goofball romantic despite having his own issues (mom died when he was young, and he’s estranged from his father).  For all the natural and architectural beauty Shults finds in South Florida – the setting for other notable recent indie greats as “Moonlight” (2016) and “The Florida Project” (2017) – it is not the happy place it appears to be on the outside.

Like “Moonlight” – and comparisons between the films are inevitable, though they are very different – the matter of race in “Waves” is not embossed or underscored. But it’s there, subtly and provocatively. About the most overt the film gets is when Ronald, who along with his wife (Tony winner Renée Elise Goldsberry, “Hamilton”) has provided the children a spacious and nurturing environment, tells Tyler solemnly, “ We are not afforded the luxury of being average. Got to work 10 times are hard just to get anywhere.” It lingers.

Of “Waves,” not enough can be said about the cast. Brown’s prideful patriarch commands the screen so throughly that I can’t imagine he’s not in the Best Supporting Actor conversation come year end; but the whole tsunami of emotions doesn’t crest or swell without Harrison Jr., seen this year in “Luce.” His once hopeful character goes through a gantlet of external and self-imposed torment – a bravura performance from such a young actor who has to hit such a wide range of emotions, so high and so low, and something he takes to the mat each time, giving Shults’ middle American saga its brine and soul.

Booksmart

25 May

 

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To say Molly’s a bit of an overplanner would be an understatement, but to date things have mostly worked out – she’s in at Yale. We catch up with the library-loving pair on the eve of graduation, when reality comes crashing in on their four-year abstinence. Molly, in the pleasant surroundings of a coed bathroom, learns that many of the partying jocks and popular girls also got in at their first choices – Stanford for the handsome A-Rod clone, and a much-scorned “easy” girl is also heading to Yale. Talk about a bucket of ice water, let alone a water-filled condom hurled in the hallway that finds its viscous mark. A quick re-eval and Molly decides that the two must hit the most hip and happening party that night to notch “a seminal fun antidote” and that smooch for her BFF who has her eye on a certain someone. 

Directed by actress Olivia Wilde (“Beer Buddies”) making her feature filmmaking debut, and imbued with sharp, witty dialogue by a quartet of female writers (usually not a good sign when there’s a phalanx of penners, but that’s not the case here), the film rides the rails of many a teen comedy that’s come before – the seminal works of John Hughes, “Fast Times at Ridgemont High” and recents and darker films such as “Lady Bird” and “Eighth Grade” – namely that amid all the teenage hijinks, it’s really about friendship and support during the throes of those angst-filled, defining years.

Even if “Booksmart” pushes a few gags too far, it’s pleasantly smart and silly from start to end. Some of the best moments play off the young ladies’ yen for different genders. Take Amy’s wide-eyed Christian parents who think Molly and their daughter might be an item: Molly seizes just about every opportunity to play up the angle, mostly in the form of overzealous hugs that include conspicuous breast cupping. Then there’s the goofy reveal of self-pleasure items (not all treasured childhood toys remain in their innocent past) and Amy perusing porn in a Lyft driven by the moonlighting school principal for “educational purposes” (what to do with another girl). Add to the mix Billie Lourd and Skyler Gisondo as the school’s two super-rich eccentrics (Gigi, the ubiquitous teenage acid queen, and Jared, a yacht-owning loner and wayward romantic) and you have a rich potpourri that’s full of pop and zing. The romance takes some unexpected turns too, and in the end “Booksmart” is as much of a heart warmer as it is a tummy tickler. It’s not entirely polished, mind you, but the rough edges are small and easily forgotten with the infectious and palpable chemistry between Dever and Feldstein. Not enough can be said about their value to the film’s success – their dynamic duo and Wilde, playing it all just off-center, have made familiar tropes new and wickedly relevant again.

The Sisterhood of Night

16 Apr

By Tom Meek

April 11, 2015  |  8:00am
<i>The Sisterhood of Night </i>

The misunderstood lives of teenage girls, ever so enigmatic and worrisome to adults, have manifested as a form of mythos in pop culture. Just consider the snarky, revealing panoply of The Craft, Pretty Little Liars, Gossip Girl andHeathers. You could add The Sisterhood of Night to the list, but due to its inability to plumb teen angst with any introspective sincerity, it’s unlikely to resonate with any bite over time.

The premise behind Sisterhood, based on the short story by Steven Millhauser (The Illusionist), is both rich and rife with prospect. Two friends have a falling out and form divergent societies—one the late night clutch of the film’s title, while the other founds a virtual online support group for outcast and abused girls. The brassier of the two frienemies, Marry Warren (Georgie Henley from the The Chronicles of Narnia), convenes the lot of handpicked and secretly initiated girls who zealously adhere to the vow of what happens in the sisterhood, stays in the sisterhood.

What exactly they do in the middle of the night out in the woods remains unclear for much of the film. We know they’re good at dodging their parents’ watchful eyes and sneaking out to the covert spot; what transpires there becomes the subject of much speculation by the residents of the small town of Kingston, N.Y., who, with all the modern technology at their fingertips, remain powerless to gain a glimmer into the goings-ons of their beloved daughters. Continue reading