It has been a busy couple of weeks at the movies, especially for independent films, we’ll try to get through as much as possible in a relatively expeditious fashion. From films like Hereditary to Blockers (and a handful in between), 2018 has been a particularly good year for first-time directors. Fortunately for audiences, these new voices provide some much-needed relief from the commercial filmmaking machine. Mid90s is the perfect antidote for the modern cinema experience.
Had this not been Jonah Hill’s directorial debut, it could have easily fallen by the wayside…thankfully A24 knows their stuff. The story follows a young teenager, Stevie, as he looks to escape an underwhelming home life and make friends in Los Angeles during one summer in the mid-1990s. Thematically, it was a little tough to pin down but that’s not necessarily a bad thing. The common denominators among the characters are varying degrees of instability in their homes…and skateboarding, which was very much counterculture at the time. It reminded me a lot of Kids (1995), which was a groundbreaking indie film and undoubtedly on Hill’s watchlist growing up, only without the rape and AIDS. It’s gritty and authentic but there is still a lot of heart there.
Hill wrote the screenplay as well and likely drew a lot from his own time growing up in Los Angeles. A rich sense of realism populates every scene, even if you’re unfamiliar with what’s being depicted. There’s a nice blend of characters and diversity amongst the kids in the cast and the dialogue between them is hilarious without needing to be punchline driven. It’s just natural and that’s why it worked so well. Each one of these characters allowed Hill to explore things like racism, teenage drinking, poverty, and abuse without having to make the film about any of those. He had some story credits for a few other films but this was his first full-fledged screenplay and he did a really good job here. With writer/director added to his resume, Hill will have a myriad of options moving forward but you can check him out on the Netflix original series Maniac right now.
While it may be Jonah Hill’s movie, it undoubtedly belongs to Sunny Suljic who plays Stevie. They worked together earlier in the year in Don’t Worry, He Won’t Get Far on Foot and Suljic had a role in Killing of a Sacred Deer last year. You may also recognize his voice as Atreus from the latest installment of God of War on Playstation 4. For a kid you probably haven’t heard of, he’s done quite a lot over the last year but this was definitely a breakthrough role for him. Stevie is sick of seeking his brother’s approval and desperately looking for a sense of belonging…a home. Suljic has a natural charisma that makes him very likable and incredibly easy to cheer for, which is crucial to this film’s success. He displayed a lot of range for a young actor too, having to navigate some of the intricate emotions of an adolescent boy in turmoil. It would be surprising if he managed to crack the list of Best Actor nominees but his performance basically was the film. If nothing else, he’s leading the way for my Breakthrough Actor category.
Music played a pivotal role in this film, helping tell the story emotionally. Hip-hop and emotional resonance aren’t typically associated from the outside looking in but for those who grew up with it, there is a stronger foundational understanding. The small budget film didn’t have the money to license the songs, so Hill had to write letters to all his favorite artists in order to get permission: a story he elaborated on during a Tonight Show interview. The movie boasts an excellent soundtrack with subtle hip-hop classics from Wu-Tang Clan, Cypress Hill, The Pharcyde, and Del The Funky Homosapien (who also has a small cameo that I completely geeked-out over). Original music by Oscar Winners Trent Reznor and Atticus Ross helped to fill in those gaps where the soundtrack couldn’t quite reach.
In order to truly capture the visual signature of the 90s, the film was shot on 16mm stock using a 4:3 aspect ratio…it looks like it was shot on an old camcorder. Christopher Blauvelt handled the cinematography: another recruit from Don’t Worry He Won’t Get Far on Foot. A lot of traditional filmmaking went out the window for this effort, opting instead to put the camera right in the thick of things with the cast. The handheld/home-movie aesthetic lent itself well to the story and the setting, enriching the experience with an additional layer of authenticity.
Oscar nominee Lucas Hedges was probably the biggest name in the cast playing Stevie’s abusive older brother Ian. He lent some instant credibility to the project but had a relatively small role overall. Allison Jones had to assemble a cast of mostly unknowns for Stevie’s crew. Na-kel Smith is the skater that gave this movie wheels. He is a real pro and it’s evident. In this case, he didn’t have to step outside himself too much in order to play Ray, an aspiring pro skateboarder who is more-or-less the leader of the crew. Olan Prenatt, Gio Galicia, and Ryder McLaughlin round out the crew as Fuckshit, Ruben and Fourth Grade respectively. All the kids have a natural chemistry that plays well when they’re together and that’s really what this movie was all about.
When it comes to indie cinema, it’s inherently niche. It’s not for everyone; that’s the deal. However, that’s also what makes it special. I never really knew how much I enjoyed independent film until I started writing about it. Mid90s is a throwback in every sense: a contemporary period piece. Even if the subject matter doesn’t particularly interest you, this was a great display of sharp filmmaking on a tight budget.
Recommendation: For anyone who grew up in the 90s, this is a must see. If you’re a fan of Jonah Hill, you should take a look at his writing and directing style. Even if you’re just the average moviegoer, there are plenty of universals that are cross-generational. It’s a breezy hour and 25-minutes so don’t be afraid of getting in over your head.