Mid90s

One's first encounter with other people.

Outside of school.

A curious child not prone to mischief suddenly finds himself ensconced with peeps of whom his mom (Katherine Waterston) may disapprove.

They aren't thieves or thugs or dealers or bigots, but homework still isn't really their thing, and they aren't exactly that interested in much, besides chillin'.

And skateboarding and girls.

His brother's (Lucas Hedges) a bit macho though and lays down a strict beating should he continue to exist and enter his much older presence.

A bit of a dick, until Stevie's (Sunny Suljic) recreational pursuits become too disruptive, at which point he actually says something which isn't pejorative or obtuse.

Surprise and shock.

Indiscrimination.

Jonah Hill's Mid90s is a heartfelt deep gritty super real account of youth as it breaks away too quickly.

Hill excels at presenting scenes that aren't overly preachy, or sentimental, or ridiculously exaggerated, or lame, both his writing and directing masterfully blended to craft an exceptionally thoughtful independent comedy that makes you think as it lips off, like cheeky unconcerned conscientious bright crossroads.

It's edgy, it's not provocative or loud or volatile, it's more subtle in its orchestrations as if its characters are aware they don't know much but still seek non-academic experiences that can inspire if not at least entertain them.

Actively.

Even the older ones who offer Stevie advice.

There's judgment but it isn't final, there's support but it isn't blind, there's experimentation but it isn't reckless, until they all get into a car whose driver's intoxicated.

Always a bad idea.

Hill does an amazing job.

I'd say he's the real deal.

Outstanding.

Mid90s sincerely celebrates friendship and camaraderie by having fun without causing too much trouble.

The limits it presents, i.e. don't drink and drive, are as reasonable as they are not foolish, and as realistic as death or paralysis.

Haunting.