Review of Boyhood (2014) by Mikael K — 25 Mar 2015

Richard Linklater is a master of low key, dialog driven drama where nothing much happens on the outside. "Boyhood" is true Linklater with its laid-back pace and undecorated scenes where acting and writing carry the story. Broader strokes of cinematography are reserved for few scenes where they serve as effects.

Linklater shot the movie during 12 years, which makes "Boyhood" a curiosity in and of itself. Story-wise, the extended decade of production doesn't really show- the film doesn't seem to be aware of its most marketable gimmick- but it does indeed lend the viewing experience a certain sense of authenticity. The way the characters, actors as well as Linklater's direction evolve over the course of the two-and-a-half hour so that the movie getting better and better becomes an engrossing element of its own. I was especially impressed by Patricia Arquette, who has never been one of my favorite actors. She starts off really awkward, I felt, but ends up giving a solid performance by the end of her long assignment. I still think she won an Oscar from the role mostly because of her dedication.

The film starts two years after the turn of the Millennium and follows its main character Mason (Ellar Coltrane) from the age of six into his adulthood at 18. Mason lives with his mother (Arquette) and elder sister (the directors daughter, competent Lorelei Linklater). His life is infrequently inhabited by his divorced father (Ethan Hawke).

Nothing specific or particularly dramatic ever happens, and the film feels much longer than its already lengthy duration, but never at any point does it get tedious. The true narrative occurs just beneath the surface. Linklater depicts normal life and captures the journey of growing up tenderly and often beautifully. And yes, the film seems to be in all its understating humility about nothing less that time itself. The way time molds the faces of the actors, the minds of the characters, the visual style of the film and the music we hear. The soundtrack plays a key part, but never steps forward in order to maintain the sense of everything we see being real. There is no movie magic here, and that's a good thing.

What makes "Boyhood" truly alive is that trademark Linklater compassion and warmth that permeates the scenes. There is openness, acceptance and humility here that make the effect of the storytelling ever more powerful.