Big Time Adolescence – first look review | Little White Lies

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Big Time Ado­les­cence – first look review

01 Feb 2019

Words by Hannah Strong

Two people, a woman with short dark hair and a man with blond hair, sitting on a couch in a room with patterned wallpaper and a poster on the wall.
Two people, a woman with short dark hair and a man with blond hair, sitting on a couch in a room with patterned wallpaper and a poster on the wall.
SNL’s Pete David­son puts in a star-mak­ing turn in this sub­ur­ban com­ing-of-ager from writer/​director Jason Orley.

With the explo­sion of com­ing-of-age movies that fol­lowed in the wake of John Hugh­es, so came a lot of films about being a teenag­er that nev­er quite man­aged to break the mould. We’ve been lucky in the past cou­ple of years – Edge of Sev­en­teen, Lady Bird and Eighth Grade all exem­pli­fy the broad­er genre while man­ag­ing to can­ni­ly bring some­thing new to the table. First-time direc­tor Jason Orley hopes to do the same with his debut, Big Time Ado­les­cence, a con­tem­po­rary sto­ry of accel­er­at­ed adult­hood and ado­les­cent drug-dealing.

Sev­en­teen-year-old Mo (Grif­fin Gluck) idolis­es his best friend Zeke (Pete David­son). He’s fun­ny, he’s cool, he’s world­ly – the only prob­lem is Zeke’s the 23-year-old ex-boyfriend of Mo’s old­er sis­ter. Per­haps under­stand­ably, Mo’s par­ents aren’t par­tic­u­lar­ly hap­py about their son hang­ing out with an adult slack­er who spends his time get­ting drunk and smok­ing pot.

When Mo and Zeke hatch a plot to sell drugs to Mo’s peers at high school, the lim­its of their friend­ship are quick­ly test­ed. Despite this fair­ly rou­tine premise, the can­ny cast­ing of Sat­ur­day Night Live’s David­son as lov­able scamp Zeke gives the film its endear­ing charm.

After steal­ing the show in Net­flix rom-com Set It Up, this is Davidson’s first dra­mat­ic lead role, and sees him fol­low in the foot­steps of fel­low SNL alum­ni Andy Sam­berg and Bill Had­er. There’s a clear thought behind every­thing about Zeke, and David­son com­mands the screen so effort­less­ly that it’s dif­fi­cult for any­one else to keep up – except, rather nice­ly, Pret­ty in Pink star Jon Cry­er, who plays Mo’s dis­ap­prov­ing father and attempts to warn Zeke off con­tin­u­ing a friend­ship with his son.

Maybe it’s dif­fi­cult to tell where David­son ends and Zeke begins, but this doesn’t detract from how fun it is to watch David­son at work, or the fact that Zeke’s arc is the most com­pelling aspect of the sto­ry. So much so, in fact, the shared focus with Mo feels super­flu­ous. We’ve heard Mo’s sto­ry told many times before, but in the cur­rent social cli­mate it might be more inter­est­ing to hear about the grown men who can’t actu­al­ly grow up and the caus­es and impli­ca­tions of this.

Unfor­tu­nate­ly there just isn’t enough weight to the rest of the film: the female char­ac­ters are one-note, and the don’t do drugs, kids’ mes­sage feels over­ly sim­ple and reduc­tive. The sur­pris­ing melan­choly of the film jux­ta­posed with the quick wit of David­son does hint at some­thing wor­thy in Orley’s vision, but it’s just not quite enough to set the world on fire. David­son, how­ev­er, might just be a movie star in the making.

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