#140RVW
Locally shot comedy follows in long line of what used to be quirky indie feel-goods. They lose nothing by being more mainstream. #rockwell
What’s more:
Hard to be really unique with certain movie genres at this point in film history; so many things have come before. The genre of coming of age comedies, for example, is certainly a very well-attended party. While you can generally count on them to be funny, it’s hard to find your own bit of fresh air.
The Way, Way Back is a little bit like this. First off, let me be clear: it’s a very good film. I definitely recommend it. It just feels somewhat familiar.
Call it a victim of success. These movies used to be on the outside looking in. You know the type – quirky, funny quiet films with biting dialogue, awkward moments, authentic emotions and adults behaving oddly. Usually a fun little soundtrack with newer little-known artists and one or two intentionally ironic out of date songs. Excitingly unknown actors and arty cinematography to taste. Well those aren’t “indie” anymore. Every major studio has a smaller studio entity to put these out. Those actors aren’t languishing in obscurity – they’re on the red carpet.
Which is a good thing, of course. It’s wonderful that so many different types of films are able to find a voice now. It’s getting a little harder to be heard with so many venues for films to be made and released, but the playing field has levelled out. The biggest challenge is no longer just getting your picture made; now you get to duke it out with all the other films for an audience; which, to be fair, the majors have been doing all along.
The Way, Way Back marks the directorial debut of Nat Faxon & Jim Rash, who also wrote the original screenplay. Faxon & Rash took home an Oscar for writing The Descendants, although I prefer their work here. It’s a far leaner tale – more satisfying.
One sort of strange characteristic of the film is that it was originally set in the 1980’s, but budgetary considerations turned it into present day. I didn’t know that particular fact until after seeing it, but I still got that impression while watching the movie. Maybe it’s the clear similarities between this and other recently filmed 80’s set comedies like The To-Do List and Adventureland.
Or maybe it’s the clear Bill Murray/Meatballs influence. I absolutely adore Sam Rockwell and he’s a blast here, but he’s not exactly blazing trails; variations of this character have appeared so often it should have a title. There is a very nice non-verbal moment in one of his last scenes that distinguishes his performance; he simply steps in front of the protagonist to shield him – it’s a very small gesture, but it provides a depth to the character that wasn’t explicit until that point.
The acting is, of course, fantastic. Usually is in this caliber of film. Steve Carell plays against type as a complete bastard with an authenticity that really makes you hate the guy. Being such a funny, talented and likeable guy it comes as a bit of a shock; I hope he only uses his powers for good. No one else stretches themselves notably, which is no criticism – they just turn in the usual great performances. Child actor Liam James blossoms in his starring role. You’re not a 3, kid…
Poster:
Trailer:
Bechdel Test:
Pass
The Representation Test Score: B (7 pts)
(http://therepresentationproject.org/grading-hollywood-the-representation-test/)
| Main Cast | Steve Carell Trent, Toni Collette Pam, Allison Janney Betty, AnnaSophia Robb Susanna |
| Rating | PG-13 |
| Release Date | Fri 26 Jul 2013 UTC |
| Director | Nat Faxon, Jim Rash |
| Genres | Comedy, Drama |
| Plot | Shy 14-year-old Duncan goes on summer vacation with his mother, her overbearing boyfriend, and her boyfriend’s daughter. Having a rough time fitting in, Duncan finds an unexpected friend in Owen, manager of the Water Wizz water park. |
| Poster |  |
| Runtime | 103 |
| Tagline | We’ve All Been There. |
| Writers | Nat Faxon (written by) &, Jim Rash (written by) |
| Year | 2013 |