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The Edge Of Seventeen Movie Review – Hailee Steinfeld is the young star of “Edge of Seventeen,” a great new teen comedy. STX Entertainment
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Even if we hate high school, it still occupies a very large place in our psyche. It’s why people still have nightmares about math tests well into their 20s and 30s, and why the high school cafeteria is often used as a metaphor for bad behavior or vindictive behavior.
, the excellent new film from writer/director Kelly Fremon Craig. It’s a teenage movie that sets aside decades’ worth of teenage movie clichés (a moment of love on a bicycle, sibling envy, et. al), lifts them up, and rearranges them a little bit — enough to be recognised. The result is a deceptively comic portrayal of teenage anxiety and depression.
It opens with a suicide threat. Nadine, the troubled 17-year-old heroine (Hailee Steinfeld), is spilling her beans to Mr. Bruner, her decorous but kind teacher (Woody Harrelson). “I’m probably going to jump off an overpass in front of a semi,” He warned, “or a U-transfer-just not a bus. I’m not going to be a dick and let people see them.” The threat is a bluff, but the stranger is real. Nadine is being bullied. She is like a younger sister
, he resents his cocky stud of an older brother (Blake Jenner). His father died a few years ago, from what looks like a heart attack, and his mother is distracted and day-crazed. Her only romantic prospect is a lanky dork in her history class named Erwin.
Then, the unthinkable: Her best (and only) friend Krista (Haley Lu Richardson), has a relationship with, and ends up dating, her handsome brother. It is an unstoppable crime that confirms what the angry high school students already suspected: he is alone in the world. Nadine’s friendship value is reduced to zero. Throughout the bulk of the movie, Nadine vascillates between Erwin and a few weird, self-serving love interests, and eventually comes to grips with her dysfunctional family. The plot ebbs and flows, with park excursions and a tragic rendez-vous with a crush, perhaps on its way to a very happy ending. But
Not quite going for the predictable arc plot of a John Hughes film; he didn’t go for the high kiss. It’s messier, closer to cities and the uncertainties of real life.
. (Academies: Keep casting Steinfeld as a carefree teenager, at least for a while, until he makes the inevitable transition to adult roles.) It’s sad, but more important, it is sardonic and funny. He cries and pouts and sputters and snarks and stews over an unattainable crush, but what the film captures most vividly is that distinctly sad young man who feels shame about his own stumbling, confused life. He achieves this with a lot of passion, much of which is given carelessly by Harrelson, who shows impatience with his words and the exact opposite with his behavior.
Is set in a retro 1970 or early 1980 universe. (There have been a number of youth-focused films set in that period recently, from 2015’s Diary of a Teenage Girl to 2016’s
Is the definitive 2016 show of youth, from the alt-pop-heavy soundtrack to the endless texting and Facebooking written into the script. CNN thinks the coming-of-age movie “gives the selfie generation,” which, of course — I suspect is the first mainstream movie to include the phrase “dumpster fire” in its description. And one of the funniest gags was a nasty Facebook message to a crush, composed during a moment of desperation and sent with an accidental sleight of hand. (Sample Line: “We can do it in the barn storeroom.”) But these emotions are pretty timeless.
Unlike many teen movies, there are absolutely no villains. Not in the girls sense, at least. No Regina George. There are parents who just don’t understand, and there are abusive men and dirty friends and dopey brothers. But these are people, not caricatures. It is the villain
Is the same abstract one that all reckless youths come to terms with in the end: a cold, miserable life that doesn’t care much whether it gets through a Semi
Show: Stevie Nicks reflects on ‘tough advice’ from friend Tom Petty – In ‘Southside With You,’ Barack Obama is a young, talkative professional – ‘American Girl’ review: Noah Baumbach’s wry, cute sister comedy, premiere of Kelly Fremon Craig, who does a fantastic job as this is her first directorial performance to receive credit. The film tells the familiar story of a troubled young man dealing with the tried and true issues of friendship, love and harmony. While the plot is so familiar it’s forgettable, for the most part the main cast delivers smart, witty performances across the board. .
Nadine (Hailee Steinfeld) is a high school student whose inability to relate to those around her is exacerbated by the sudden death of her father, and the abandonment of her best friend and brother. He finds a friend in a snarky, unimpressive history teacher (Woody Harrelson) who develops a soft spot for him and helps him out. Harrelson is annoying and annoyingly charming throughout, delivering a hilarious, witty sense of humor without ever leaving his desk. The two actors have good chemistry and it shows during the more emotional moments of the film.
As for Nadine’s friend, Krista (Haley Lu Richardson), her brother Darian (Blake Jenner) and her mother (Kyra Sedgwick), they give performances that are past but largely forgettable, mainly because the characters don’t seem like they shake off their angry young man image. movie role They do their part, but the movie tells Nadine’s story and doesn’t try to add anything more than predictable character moments to others. That would be nice, but the moments where people other than Harrelson and Steinfeld aren’t on screen feel very empty.
The world of film companies around is trying to feel a lot more than the set that doubles as the Disney Lot the rest of the year. The posters in Nadine’s room that say “rock star” and the extras we see over and over in the big high school don’t make the movie feel alive. among the wood. Coming-of-age movies have a history of memorable soundtracks, but aside from one or two “hip songs,” the music could be taken straight from a Target ad for spring sales.
Many of the moments with Nadine are genuinely funny, cringe worthy or emotional. However, relying on her talking to herself to express how she feels pulls the viewer out of the experience. People don’t express every feeling they have, and the film would have worked better if the moment on screen and the action spoke for itself.
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Life comes at you fast, so The Edge of Seventeen turns it into a smart, smart teenage comedy.
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Alissa Wilkinson covers film and fashion. Alissa is a member of the New York Film Critics Circle and the National Society of Film Critics.
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