Here are the movie reviews I wrote for the November issue of EL Magazine, which was distributed in Tokyo on October 25.
Boyhood
By now everyone knows how this film was made. In 2003, Richard Linklater started shooting a core cast of four individuals playing a nuclear family and over the next twelve years built on their story as all grew older in real time. This premise is impressive enough—how could Linklater have known all four actors would stick with the project?—but the logistics are even more astounding when you learn that when he did shoot it was only for a week at a time, because there is something wholly integrated about the life of Mason (Ellar Coltrane), nuanced and deeply inhabited, even though we only see him in an incidental fashion. And even those incidents tend to be small—getting a haircut, going bowling, hanging out and talking shit. Except for high school graduation and a few deliberately melodramatic scenes, it is an accrual of modest anecdotes, but which convey his personality and development more satisfyingly than so-called major events. At six, Mason’s parents, Olivia (Patricia Arquette) and Mason Sr. (Ethan Hawke), are already separated, and it’s implied his older sister, Samantha (Lorelei Linklater, the director’s daughter), was unintended. Mason Sr. is a free spirited, irresponsible soul who has the luxury of popping into his children’s lives when he wants to, thus placing pressure on Olivia, who is burdened with the bulk of the disciplinary chores. This tension is always present in the various interactions, even when all the principals aren’t around, but it also dissipates over the years in a naturalistic way that indicates how carefully Linklater controlled the storyline. Neither parent is let off the hook. While Mason Sr. is seen as a charming knave and eventually forced to give up his slacker ways when he starts a new family, Olivia makes bad partner choices, two men who are more ostensibly responsible but who also turn out to be alcoholics. If this is mostly background to Mason’s central story, it’s invaluable background, because Mason, as played by the sinuously charismatic Coltrane, internalizes these issues in the way he makes decisions. He turns into an intelligent young man who has the affability of his father without the egocentricities, while also acquiring his mother’s sense of justice (she returns to school and eventually becomes a literature professor) but with a more realistic viewpoint. Drugs, sex, all the usual adolescent trapdoors that kids have to navigate are presented without much editorial input, and despite the title Samantha is afforded a full measure of attention for her own foibles. As she and Mason grow into handsome adults with their own problems, both Olivia and Mason Sr. fill out unflatteringly and become more attuned to the hand life has dealt them. In movies, that sort of quotidian honesty is rarely addressed so movingly—or entertainingly. (photo: boyhood inc./ifc productions i, LLC) Continue reading











