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.

Superbad

The new teen-comedy Superbad (Greg Mottola, dir.) breaks away from its juvenile categorizations because of the onscreen chemistry of leads Jonah Hill and Michael Cera. Their dialogue focuses on important topics like life after high school, friendship, social phobias, popularity, and sex. I suppose the majority of their dialogue focuses on sex but sex is used as the vehicle that organizes Superbad's other areas of inquiry. Throughout, Hill's brazen, deadpan delivery functions as the perfect counter to Cera's thoughtful, intelligent musing, and the two carry the script with an energetic willingness that leaves us wishing they could continue suffering through high school forever. Along for the ride is Fogell "McLovin" (Christopher Mintz-Plasse), Hill and Cera's fake id bearing friend who spends most of the film galavanting around with Officers Slater (Bill Hader) and Michaels (Seth Rogan), the most inept and jaded comic policepersons this side of Supertroopers. If you need proof of the effort and time that was put into Seth Rogan and Evan Goldberg's quality script, you perhaps need look no further than the name McLovin itself, a name which resonates trivial destiny, paradoxically managing to remain both contemporary and historical. Superbad is definitely written for men, which could make it all the more appealing for women, it being a rare clinical evaluation of the American teenaged male, an evaluation which can be thought of as both lucid and gross. Come for the camaraderie, stay for the shenanigans, note that if you're looking for an entertaining hour and a half comedic break you're in luck, and, when it’s over, if there's time, pull out that old high school yearbook, and sigh.