Mid90s | Little White Lies

Mid90s

09 Apr 2019 / Released: 12 Apr 2019

A person wearing a white t-shirt and looking out of a vehicle window.
A person wearing a white t-shirt and looking out of a vehicle window.
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Anticipation.

Jonah Hill has worked with some incredible directors. Let’s hope he’s picked up a trick or two.

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Enjoyment.

The dramatic third act is a tad Hollywood, but this is a lot of fun.

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In Retrospect.

The kids are all right.

Infec­tious ener­gy and a strong DIY ethos pow­ers Jon­ah Hill’s direc­to­r­i­al debut.

Jon­ah Hill’s sud­den rein­ven­tion as a Seri­ous Direc­tor shouldn’t real­ly come as a shock, part­ly giv­en the sim­i­lar path forged – to vary­ing degrees of suc­cess – by fel­low Apa­towians Seth Rogen, James Fran­co and Evan Gold­berg in recent years, but pri­mar­i­ly because he has long expressed a desire to shed his com­e­dy bro per­sona and build a rep­u­ta­tion for his work behind the camera.

The sur­pris­ing thing about Mid90s, then, is that it leaves you ques­tion­ing Hill’s career choic­es up to now: name­ly, why the hell has he been wast­ing his time with this act­ing malarky instead of going out and mak­ing movies?

Were this the debut fea­ture of a pre­vi­ous­ly unknown film­mak­er, we would be hail­ing the emer­gence of an excit­ing new voice in Amer­i­can inde­pen­dent cin­e­ma. As things are, the film stands as a neat rejoin­der to the notion that actors should stick to the script.

The set­ting is Los Ange­les cir­ca, per the title, the mid-1990s. Before we’ve had a chance to set­tle into our seats – indeed, before the film has even prop­er­ly begun – a flur­ry of limbs bursts into the frame, clat­ter­ing into the mass of skate­boards that has been care­ful­ly arranged to spell out the name of the film’s pro­duc­tion com­pa­ny, mil­len­ni­al dar­lings A24. It’s a clear state­ment of intent that sets the tone for a film pow­ered by youth­ful exu­ber­ance and a strong DIY ethos.

Two young people sitting on a couch, one holding a games controller and the other drinking from a can. Shelves and potted plants are visible in the background.

Mid90s is the sto­ry of 13-year-old Ste­vie (Sun­ny Suljic, who Hill met on the set of Gus Van Sant’s Don’t Wor­ry, He Won’t Get Far on Foot in ear­ly 2017), who takes up skate­board­ing as a way to make friends with the cool­er, old­er boys who run a local skate shop. Com­pris­ing this rag­tag crew of tal­ent­ed but rud­der­less ama­teur skaters are Ray (Na-kel Smith), Ruben (Gio Gali­cia), Fourth Grade” (Ryder McLaugh­lin) and Fuck­shit” (Olan Prenatt).

As Ste­vie ingra­ti­ates him­self with the group through his good nature and fear­less atti­tude, find­ing sanc­tu­ary and a sense of iden­ti­ty away from hos­tile old­er broth­er Ian (Lucas Hedges) and lov­ing but large­ly absent sin­gle moth­er Dab­ney (Kather­ine Water­ston), the char­ac­ters’ back­sto­ries are fleshed out to poignant effect, all to a catchy era-spe­cif­ic sound­track curat­ed by Hill.

Maybe the film tries a lit­tle too hard at times to con­vince us of its street cred. Yet for all its down-with-the-kids zeit­geist-sig­nalling (Hill and A24 have teamed up with Spo­ti­fy to cre­ate the first-ever offi­cial motion pic­ture playlist”, what­ev­er that means), Mid90s feels unequiv­o­cal­ly like a film made with younger view­ers in mind.

Despite being shot on 16mm film and fea­tur­ing a score by Trent Reznor and Atti­cus Ross, it’s nev­er self-indul­gent, super­fi­cial or nos­tal­gic in a con­spic­u­ous­ly affect­ed way. Rather, this is an authen­tic evo­ca­tion of a spe­cif­ic time and place, a charm­ing­ly scuzzy com­ing-of-age dra­ma that isn’t pre­oc­cu­pied with dis­pens­ing hard-won life lessons to its tar­get demographic.

Hill may owe a debt to the likes of Har­mo­ny Korine and Lar­ry Clark, but cru­cial­ly his film has an ener­gy and spir­it all of its own. Still just 35 at the time of writ­ing, there’s sure­ly a lot more to come from Jon­ah Hill, director.

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