Tag: Jacob Tremblay

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Good Boys

Few films of the 21st century have had as long a shadow as Superbad. Written by high school friends Seth Rogen and Evan Goldberg, it was a huge hit in 2007, launching one of the young century’s premiere comedy teams and spawning a legion of imitators. In it, the two high school protagonists (named Seth and Evan) try to score some booze for a party that takes on almost mythical status for them as they run from the cops (Rogen and Bill Hader, in star-making turns) and try to live up to the impossible standards of coolness they have developed in their heads.

Superbad is itself part of the legacy of Freaks and Geeks, the millennial high school TV series created by Paul Feig where Rogen, James Franco, and a number of other actors such as Lizzy Caplan got their start. Together, the show and the movie took the Hughesian vision of American high school as a rigid caste system of the rich, the popular, the athletic, the nerdy, the poor, and the slutty and adapted it to the new realities on the ground. Just as Animal House inspired countless numbers of frat party comedies, every coming-of-age comedy since Superbad worth its salt has been based around young misfits on a quixotic quest for fun.

Ain’t misbehavin’ — (l-r) Keith L. Williams, Brady Noon, and Jacob Tremblay are Good Boys.

Produced by Rogen and Goldberg and penned by former writers for The Office, Gene Stupnitsky and Lee Eisenberg, Good Boys transports the formula from high school to middle school. Max (Jacob Tremblay), Thor (Brady Noon), and Lucas (Keith L. Williams) are a trio of besties who call themselves the Beanbag Boys. The neighbors have grown up together and, until now, have been perfectly content to sprawl out on their comfy beanbags and play Magic: The Gathering. But they’re nearing puberty, and nature is calling; the film opens with Max getting busted by his father (Will Forte) for masturbating.

Max’s first crush is a girl named Brixlee (Millie Davis), and he’s been making a ceramic necklace in art class for her as a gift. After following her to a skate park, the Beanbag Boys improbably manage to wangle an invitation to a party at the home of cool kid Soren (Izaac Wang). Brixlee will be there, Soren tells Max — and there will be kissing.

The central conceit of Superbad is that Seth and Evan are aware of the world of college parties and grown-up kicks, and they’re trying to force their way into it. In Good Boys, our young protagonists are completely clueless. All they know about sex is from playground talk and health teachers. When they want to know how to do kissing right and not engage in “sensual harassment,” they resort to searching the web for “prob,” and then for porn. But their lurid, traumatizing searches come up empty because “nobody even kissed — at least not on the lips!”

That’s just the beginning of the trio’s descent into low-grade vice that unfolds naturally over the day of the party, as the trio tries to prove, in Max’s inspiring words, “Are we fifth graders — or are we sixth graders!?” The key to this kind of comedy is getting the characters right and balancing the comedy beats with enough genuine peril so that the stakes drive the conflict forward without much laughter-killing real danger. On the character front, the film succeeds. The Beanbag Boys fit together naturally. Tremblay, who got his start opposite Brie Larson in Room, seems destined for leading-man status in a decade or so. Williams gets a laugh for crying through a choir rehearsal of “Walking on Sunshine” after finding out his parents are divorcing. Noon is a musical theater nerd who must reclaim his enthusiasm for singing in the face of bullying. At times, the sixth grade dynamic seems to be more Hogwarts than Shermer, Illinois, with Atticus (Chance Hurstfield) and his scooter gang playing the roles of Draco Malfoy and the Slytherins.

The script has its high points as well. The boys’ attempt to spy on teenage neighbors Hannah (Molly Gordon) and Lily (Midori Francis) leads to what must be the best drone-based comedy sequence ever put to film. But the film has the misfortune of being released only a few months after Booksmart, and it simply isn’t in the same league as that coming-of-age comedy masterpiece. The Beanbag Boys’ painful naiveté works for a while but becomes a one-note joke as the film wears on. Good Boys knows how to successfully apply the Superbad formula but never manages to rise above it.

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The Year in Film 2015

It’s fashionable to complain about how bad Hollywood movies have become. But from the perspective of a critic who has to watch it all go down, it’s simply not the case. At any given time in 2015, there was at least one good film in theaters in Memphis—it just may not have been the most heavily promoted one. So here’s my list of awards for a crowded, eventful year.

Worst Picture: Pixels

I watched a lot of crap this year, like the incoherent Terminator Genysis, the sociopathic San Andreas, the vomitous fanwank Furious 7, and the misbegotten Secret in Their Eyes. But those movies were just bad. Pixels not only sucked, it was mean-spirited, toxic, and ugly. Adam Sandler, it’s been a good run, but it’s time to retire.

Actually, I take that back. It hasn’t been a good run.

Most Divisive: Inherent Vice

Technically a 2014 release, Paul Thomas Anderson’s adaptation of Thomas Pynchon’s ode to the lost world of California hippiedom didn’t play in Memphis until January. Its long takes and dense dialogue spun a powerful spell. But it wasn’t for everyone. Many people responded with either a “WTF?” or a visceral hatred. Such strongly split opinions are usually a sign of artistic success; you either loved it or hated it, but you won’t forget it.

Best Performances: Brie Larson and Jacob Tremblay, Room

Room is an inventive, harrowing, and beautiful work on every level, but the film’s most extraordinary element is the chemistry between Brie Larson and 9-year-old Jacob Tremblay, who play a mother and son held hostage by a sexual abuser. Larson’s been good in Short Term 12 and Trainwreck, but this is her real breakthrough performance. As for Tremblay, here’s hoping we’ve just gotten a taste of things to come.

Chewbacca

Best Performance By A Nonhuman: Chewbacca

Star Wars: The Force Awakens returned the Mother of All Franchises to cultural prominence after years in the prequel wilderness. Newcomers like Daisy Ridley and Adam Driver joined the returned cast of the Orig Trig Harrison Ford and Carrie Fisher in turning in good performances. Lawrence Kasdan’s script gave Chewbacca a lot more to do, and Peter Mayhew rose to the occasion with a surprisingly expressive performance. Let the Wookiee win.

Best Memphis Movie: The Keepers

Joann Self Selvidge and Sara Kaye Larson’s film about the people who keep the Memphis Zoo running ran away with Indie Memphis this year, selling out multiple shows and winning Best Hometowner Feature. Four years in the making, it’s a rarity in 21st century film: a patient verité portrait whose only agenda is compassion and wonder.

Best Conversation Starter: But for the Grace

In 2001, Memphis welcomed Sudanese refugee Emmanuel A. Amido. This year, he rewarded our hospitality with But for the Grace. The thoughtful film is a frank examination of race relations in America seen through the lens of religion. The Indie Memphis Audience Award winner sparked an intense Q&A session after its premiere screening that followed the filmmaker out into the lobby. It’s a timely reminder of the power of film to illuminate social change.

Best Comedy: What We Do in the Shadows

What happens when a group of vampire roommates stop being polite and start getting real? Flight of the Conchords‘ Jemaine Clement and Eagle vs Shark‘s Taika Waititi codirected this deadpan masterpiece that applied the This Is Spinal Tap formula to the Twilight set. Their stellar cast’s enthusiasm and commitment to the gags made for the most biting comedy of the year.

Best Animation: Inside Out

The strongest Pixar film since Wall-E had heavy competition in the form of the Irish lullaby Song of the Sea, but ultimately, Inside Out was the year’s emotional favorite. It wasn’t just the combination of voice talent Amy Poehler, Bill Hader, Lewis Black, Mindy Kaling, and Phyllis Smith with the outstanding character design of Joy, Fear, Anger, Disgust, and Sadness that made director Pete Docter’s film crackle, it was the way the entire carefully crafted package came together to deliver a message of acceptance and understanding for kids and adults who are wrestling with their feelings in a hard and changing world.

It Follows

Best Horror: It Follows

The best horror films are the ones that do a lot with a little, and It Follows is a sterling example of the breed. Director David Robert Mitchell’s second feature is a model of economy that sets up its simple premise with a single opening shot that tracks a desperate young woman running from an invisible tormentor. But there’s no escaping from the past here, only delaying the inevitable by spreading the curse of sex and death.

Teenage Dreams: Dope and The Diary of a Teenage Girl

2015 saw a pair of excellent coming-of-age films. Dope, written and directed by Rick Famuyiwa, introduced actor Shameik Moore as Malcolm, a hapless nerd who learns to stand up for himself in the rough-and-tumble neighborhood of Inglewood, California. Somewhere between Risky Business and Do the Right Thing, it brought the teen comedy into the multicultural moment.

Similarly, Marielle Heller’s graphic novel adaptation The Diary of a Teenage Girl introduced British actress Bel Powley to American audiences, and took a completely different course than Dope. It’s a frank, sometimes painful exploration of teenage sexual awakening that cuts the harrowing plot with moments of magical realist reverie provided by a beautiful mix of animation and live action.

Immortal Music: Straight Outta Compton and Love & Mercy

The two best musical biopics of the year couldn’t have been more different. Straight Outta Compton was director F. Gary Gray’s straightforward story of N.W.A., depending on the performances of Jason Mitchell as Eazy-E, Corey Hawkins as Dr. Dre, and O’Shea Jackson Jr. playing his own father, Ice Cube, for its explosive impact. That it was a huge hit with audiences proved that this was the epic hip-hop movie the nation has been waiting for.

Director Bill Pohlad’s dreamlike Love & Mercy, on the other hand, used innovative structure and intricate sound design to tell the story of Brian Wilson’s rise to greatness and subsequent fall into insanity. In a better world, Paul Dano and John Cusack would share a Best Actor nomination for their tag-team portrayal of the Beach Boys resident genius.

Sicario

Best Cinematography: Sicario

From Benicio del Toro’s chilling stare to the twisty, timely screenplay, everything about director Denis Villeneuve’s drug-war epic crackles with life. But it’s Roger Deakins’ transcendent cinematography that cements its greatness. Deakins paints the bleak landscapes of the Southwest with subtle variations of color, and films an entire sequence in infrared with more beauty than most shooters can manage in visible light. If you want to see a master at the top of his game, look no further.

He’s Still Got It: Bridge of Spies

While marvelling about Bridge of Spies‘ performances, composition, and general artistic unity, I said “Why can’t all films be this well put together?”

To which the Flyer‘s Chris Davis replied, “Are you really asking why all directors can’t be as good as Steven Spielberg?”

Well, yeah, I am.

Hot Topic: Journalism

Journalism was the subject of four films this year, two good and two not so much. True Story saw Jonah Hill and James Franco get serious, but it was a dud. Truth told the story of Dan Rather and Mary Mapes’ fall from the top-of-the-TV-news tower, but its commitment to truth was questionable. The End of the Tour was a compelling portrait of the late author David Foster Wallace through the eyes of a scribe assigned to profile him. But the best of the bunch was Spotlight, the story of how the Boston Catholic pedophile priest scandal was uncovered, starring Michael Keaton and Mark Ruffalo. There’s a good chance you’ll be seeing Spotlight all over the Oscars this year.

Had To Be There: The Walk

Robert Zemeckis’ film starring Joseph Gordon-Levitt as Philippe Petit, the Frenchman who tightrope-walked between the twin towers of the World Trade Center, was a hot mess. But the extended sequence of the feat itself was among the best uses of 3-D I’ve ever seen. The film flopped, and its real power simply won’t translate to home video, no matter how big your screen is, but on the big screen at the Paradiso, it was a stunning experience.

MVP: Samuel L. Jackson

First, he came back from the grave as Nick Fury to anchor Joss Whedon’s underrated Avengers: Age of Ultron. Then he channeled Rufus Thomas to provide a one-man Greek chorus for Spike Lee’s wild musical polemic Chi-Raq. He rounds out the year with a powerhouse performance in Quentin Tarantino’s widescreen western The Hateful Eight. Is it too late for him to run for president?

Best Documentary: Best of Enemies

Memphis writer/director Robert Gordon teamed up with Twenty Feet From Stardom director Morgan Neville to create this intellectual epic. With masterful editing of copious archival footage, they make a compelling case that the 1968 televised debate between William F. Buckley and Gore Vidal laid out the political battleground for the next 40 years and changed television news forever. In a year full of good documentaries, none were more well-executed or important than this historic tour de force.

Best Picture: Mad Max: Fury Road

From the time the first trailers hit, it was obvious that 2015 would belong to one film. I’m not talking about The Force Awakens. I’m talking about Mad Max: Fury Road. Rarely has a single film rocked the body while engaging the mind like George Miller’s supreme symphony of crashing cars and heavy metal guitars. Charlize Theron’s performance as Imperator Furiosa will go down in history next to Clint Eastwood in Unforgiven and Sigourney Weaver in Alien as one of the greatest action turns of all time. The scene where she meets Max, played by Tom Hardy, may be the single best fight scene in cinema history. Miller worked on this film for 17 years, and it shows in every lovingly detailed frame. Destined to be studied for decades, Fury Road rides immortal, shiny, and chrome.

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Room

A lot of things happen when you grow up, but one of the most important is a widening of your point of view. That’s the major theme of Room, the remarkable new film by Irish director Lenny Abrahamson — although at first glance, it might not be obvious. But the pleasures of Room (not to be confused with The Room, the so-bad-it’s-good cult hit by Tommy Wiseau) aren’t dependent on immediately grasping the deeper meaning. It’s an extraordinarily well-crafted indie film that shows what is possible with a limited budget, a good screenplay, and a clear vision.

The point of view that gets expanded in Room belongs to Jack (Jacob Tremblay), a 5-year-old boy who starts the film with a long, luxurious head of hair that would be the envy of a L’Oréal model. His hair is so long because he has been trapped in a single room with his mother Joy Newsome (Brie Larson) for the entirety of his short life. It is also, like Samson, the source of his “strong.”

The room Joy and Jack share is tiny and squalid, with an open toilet set next to a sink, and only a tiny TV for entertainment. But mother and son have carved out a simple existence that is, if not happy, at least content in each other’s company. Despite their isolation, Jack has learned to speak and evolved a fairly consistent worldview. Because there is only one of everything, there is not much need for articles such as “the” and “a,” so “door” refers to the only door he’s ever known, the thick, steel one with the number pad-operated lock that keeps him from finding out about the outside world. He knows that “TV people are flat and made of colors,” a little Zen koan containing hidden wisdom if ever I heard one. But he’s not too clear on just what goes on beyond the sole skylight in Room‘s ceiling, or what happens when Joy’s captor Old Nick comes to visit, and he is forced to spend the night in the tiny closet. But from the sounds his mother makes, it’s not good.

Jacob Tremblay and Brie Larson in Room

I went into Room knowing basically nothing about it — a strategy I find increases my engagement with the many movies I review — and I found the slow revelation of the facts of Joy and Jack’s imprisonment in Room extremely rewarding. Knowing how to dole out information at exactly the right pace is one of the hardest skills to learn for a director. Hitchcock was a master at it, as you can tell from watching Strangers on a Train, to cite just one example. Abrahamson’s clearly been studying Hitch, and I don’t want to spoil his hard work by revealing too much plot detail here. Suffice it to say that Jack and Joy do finally find their way into the outside world, where they find much greater challenges than mere survival.

Given the hermetic nature of the first hour or so of Room, its success depends solely on the performances of its two leads. Larson is more than up to the challenge. She was most recently seen as Amy Schumer’s uptight, judgmental sister in Trainwreck, but the depth of her performance here has only been hinted at in her previous work, including her starmaking turn in Short Term 12. We follow Joy from maternal happiness to grim determination to exultant freedom and on into existential despair, and it all plays out on Larson’s subtle, expressive face. Equally impressive is Jacob Tremblay, who gives the kind of unself-aware performance as Jack that most older actors can only dream of. I can only imagine the depth of the collaboration between Larson and director Abrahamson that put this 9-year-old into the proper headspace to create such a rich character. I expect to see Academy Award nominations for both actors. Superbly constructed and passionately made, Room is the kind of rare indie jewel that only comes around once every few years.