In late March 2016, it was announced that Hill would be making his directorial debut from his own spec script, and would not star. The film was inspired by Hill's days of being a skateboarder in his youth. Additionally, Hill said that Kids (1995), This Is England (2006), Ratcatcher (1999), and The Sandlot (1993) also served as inspirations. Hill then got advice from Martin Scorsese and Ethan Coen on the filmmaking process. By July 2017, Sunny Suljic, Lucas Hedges, and Katherine Waterston were cast. At the same time, principal photography commenced, and took place throughout Los Angeles, California.
The film stars Suljic, Hedges, and Waterston. The cast delivered bravura performances as the honestly genuine and mesmerizing characters. The film also gets great, moving performances from his young cast.
An edgy, engaging and easily believable coming-of-age portrait whose intimacy and plausibility probably derive from the fact that it was in part based on the real-life experiences of its writer/director. Hill's direction - luminous, real and charged - is excellent, but his script is so busy being amused by it's own excesses that it doesn't really tell us anything about the characters involved. None of the advance hype on the film can prepare you for the raw, stripped-down reality that Hill captures in his astonishing first film. The film shows what transpires when children are set adrift in a heartless world, and warns us what happens - and is already happening - in the absence of love and guidance. The film is an nostalgic sucker punch, a raw and honest piece of cinma vrit filmmaking that hooks you from its opening scenes. Hill obviously knows the middle class neighborhoods that he depicts. There's a grit and honesty to his film as he chronicles the mundane details of these kids' lives. Strong performances and powerful sense of time and place are almost enough to make a convincing argument for spending eight-five minutes yearning for 90s nostalgia. Superbly written and directed by Hill and featuring a terrific soundtrack, this is a compelling coming of age drama with a brilliant performance from Suljic. It throws a proverbial curveball at convention, relying instead on baseball's ultimate companion - nostalgia - to pluck its emotional and memorable strings. Here's another '90s movie that was beloved by 90s lovers, yet it probably won't hold the same charge for viewers not privy to that nostalgic vibe. This is a film for anyone who has ever loved baseball and for anyone who enjoys the American Graffiti style of narrative. Highly recommended. This is a film that allows its kids to be kids, that shows them in the insular world of imagination and dreaming that children create entirely apart from adult domains and values.
An edgy, engaging and easily believable coming-of-age portrait whose intimacy and plausibility probably derive from the fact that it was in part based on the real-life experiences of its writer/director. Hill's direction - luminous, real and charged - is excellent, but his script is so busy being amused by it's own excesses that it doesn't really tell us anything about the characters involved. None of the advance hype on the film can prepare you for the raw, stripped-down reality that Hill captures in his astonishing first film. The film shows what transpires when children are set adrift in a heartless world, and warns us what happens - and is already happening - in the absence of love and guidance. The film is an nostalgic sucker punch, a raw and honest piece of cinma vrit filmmaking that hooks you from its opening scenes. Hill obviously knows the middle class neighborhoods that he depicts. There's a grit and honesty to his film as he chronicles the mundane details of these kids' lives. Strong performances and powerful sense of time and place are almost enough to make a convincing argument for spending eight-five minutes yearning for 90s nostalgia. Superbly written and directed by Hill and featuring a terrific soundtrack, this is a compelling coming of age drama with a brilliant performance from Suljic. It throws a proverbial curveball at convention, relying instead on baseball's ultimate companion - nostalgia - to pluck its emotional and memorable strings. Here's another '90s movie that was beloved by 90s lovers, yet it probably won't hold the same charge for viewers not privy to that nostalgic vibe. This is a film for anyone who has ever loved baseball and for anyone who enjoys the American Graffiti style of narrative. Highly recommended. This is a film that allows its kids to be kids, that shows them in the insular world of imagination and dreaming that children create entirely apart from adult domains and values.
Simon says Mid90s receives:
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