Review of Eighth Grade (2018) by Glenn G — 20 Jul 2018

13 GOING ON 14 - My Review of EIGHTH GRADE (5 Stars).

When WELCOME TO THE DOLLHOUSE came out in 1996, I loved it, but my friend Vicki called it "hateful and heinous". Her words stuck with me all these years, despite my continued appreciation of that film. How could she not see what I saw? Well, it took 22 years, but I think I understand now after seeing EIGHTH GRADE, a kinder, gentler, but still edgy cousin to Todd Solondz's film. Written and directed by first timer Bo Burnham, who's only 14 years out of eighth grade himself, the film feels simple yet is one of the most gorgeously acted, emotionally connected films of 2018.

Starring Elsie Fisher (remember that name) as Kayla, we stay close and tight on this withdrawn, pimply-faced sweetheart who aches to connect with others as she makes her way through her last year of Junior High. For much of the film, it's a losing battle as she gets ignored by almost everyone despite her attempts to fashion herself into a YOUTUBE star complete with the adorable constant sign-off, "Gucci!". Living with her single father Mark (Josh Hamilton), a Dad also desperate to make human connections, she prefers to ignore him and bury her face in her phone. Like many teenagers, she crushes hard on the wrong person, played to disaffected perfection by Luke Parel, who wins the "Best Eyes" prize in school, but a real turd lies beneath his blue peepers. She also tries to make friends with the cool girls, but they just can't be bothered.

Every moment of this film rings true, with Burnham making sure to favor real reactions instead of the hyped-up ones we're used to seeing in the genre. The YOUTUBE clips cleverly serve as our narration as Kayla imparts life lessons which she thinks she's practicing but more often fails miserably. Kayla's journey of self-awareness is a joy to behold, watching her slowly making baby steps towards self love. Burnham uses a wonderful motif throughout of her shattered iPhone screen, which she tosses across the room in a moment of panic. Its ever-growing cracks represent the character's downward slide beautifully. Same goes for the gloriously in-your-face electronic score by Anna Meredith. It's big, bold and loud, perfectly reflecting how every little moment is huge to a teen. Most indies go the acoustic folk route, but EIGHTH GRADE is special. It truly understands its main character and I loved going along for the ride.

Burnham also works wonders with a Time Capsule motif, which pays huge emotional dividends at the end. I was reminded of those big crying moments on RUPAUL'S DRAG RACE when Ru holds up each Queen's childhood photo and asks them to give advice to their younger self. In EIGHTH GRADE'S case, the payoff had me crying harder than a hundred Eurekas and Sasha Velours combined.

EIGHTH GRADE looks and feels real, from its unassuming cinematography by Andrew Wehde to its production design by Sam Lisenco. Everything is in service of its main character, never calling attention to itself. It's how film storytelling should be. My old friend Dan Fisher was the Prop Master on the film, and just one look inside Kayla's Time Capsule will convince you of the love and care spent on getting inside Kayla's head.

At the screening I attended, Burnham told us that Kayla's dialogue was written down to every "um" and "like". It's an impressive feat considering how true everything feels. And just when everything feels hopeless for our little heroine, in comes a mentor, beautifully realized by Emily Robinson (TRANSPARENT), who offers a perspective-changing experience for Kayla. It's one of the most lovely sequences I've seen in a film in ages, acting as the perfect exhale to the prior torment she suffers. Speaking of which, you won't soon forget an ominous scene in the back seat of a car, where the emotional violence of it feels harsher and more sustaining than anything physical. This scene was reminiscent of one from THE EDGE OF SEVENTEEN, although Hailee Steinfeld's character could articulate her feelings better than the younger Kayla.

While Elsie Fisher delivers an unforgettable performance, I can't say enough about Josh Hamilton, an actor who despite a long career, has never really registered for me, until now. It's a difficult, rich role, allowing him to be the "Dad-joking" parent while also delivering harsh truths and in one sensational scene, pouring out his deep love for his daughter. Another three hankie moment.

This instant classic definitely delivers on all counts. It even gives the audience that revenge fantasy scene in which Kayla gets to finally shout down her enemies, but it does so with all of the awkward, stymied force of a real 13 year old. It's charming, heartwarming without being maudlin, funny as hell, and incredibly empowering for all. I think my friend Vicki will agree with me on this one, finally!!