Context is basically what separates one coming-of-age story from another, as well as the way it's presented; the filmmaker's ability to make that all important connection with the audience. Due in no small part to some strong performances, `The Dangerous Lives of Altar Boys,' directed by Peter Care, is a successful and worthwhile-- even significant-- addition to the genre. Though it works within specific parameters (the subjects are students at a Catholic school), most importantly, the film taps deeply into the internal angst experienced by the individuals who are the focus of Care's incisive study, and the way in which their feelings are externalized in the film offers a satisfying examination of the human condition at a particularly sensitive juncture of life.
Francis Doyle (Emile Hirsch) is fourteen and in the throes of that inescapable period of change through which we all must pass on the way to becoming who we are as adults. A pupa encased in the cocoon of youth, Francis is straining against that protective shell, attempting to break through into manhood. His family environment is strict, the routine of his life (which includes being an altar boy) is rigid, and puberty is having it's way with him. Adding to his inner conflict, as well, is the fact that his best friend, Tim Sullivan (Kieran Culkin), is continually engaging in exploits that transcend mischief to the point of being outright foolish and dangerous; daring deeds in which Francis must necessarily take part, in keeping with their own established caste and as Tim's confrere in this business of probing life's eternal mysteries. Not to mention, too, that Francis has discovered something else, quite on his own. And her name is Margie Flynn (Jena Malone).
Luckily (perhaps), Francis manages to vent his pent up frustrations and confusion creatively, through animation. With his friends Joey and Wade (Tyler Long, Jake Richardson), he has created a comic book, `Atomic Trinity,' which features four outcast teenaged boys endowed with superpowers (Tim has been included as `editor'). And to channel their hormonal driven rebellion against authority and structure, they have chosen their teacher, Sister Assumpta (Jodie Foster), as their target, for in their eyes she personifies all that is wrong with their world. Assigning her the role of Source Of All That Is Bad, she emerges as `Nun-zilla' in their comic, this haven to which they can flee and momentarily escape the realities of a world they haven't as yet figured out. What they don't realize is that Tim is about to involve them in a scheme which, if effected, is going to change their lives forever. And that `safe haven' of theirs may soon be a thing of the past.
Learning to navigate the rapids of life is no easy task, and director Care treats his subject accordingly, with a sensitive and serious rendering of the material (the screenplay was written by Jeff Stockwell and Michael Petroni, adapted from the book by Chris Fuhrman). Care succeeds by avoiding the kind of embarrassing frivolity that is too often associated with a film of this nature. He maintains credibility at every turn, making the story believable by keeping it on the stage of reality, rather than allowing it to wander into the theater of the absurd. The way he presents the relationship between Francis and Margie, for instance, is entirely convincing in the way they tentatively explore their budding sexuality together, rather than lurching ahead with seemingly sudden and inexplicable knowledge and enlightenment. Their discoveries come more from reaction than action, and the result is a very honest and genuine depiction of the situation. And Care uses this approach consistently throughout the film, which goes far in making it a thoroughly thought provoking drama.
As Francis, young Hirsch gives a commanding performance, exhibiting a maturity and grasp of the character that is far beyond his years. There is a complexity to Francis that demands a tremendous emotional range to be convincing, and Hirsch delivers it all and then some, with a portrayal of astounding depth. Here, in his motion picture debut, he emerges as one of the finest young actors in the business today.
Jena Malone also makes a substantial impact with her acute portrayal of Margie, successfully conveying the tortured soul of this young girl who must endure a most distressing secret. There are moments in which the pain derived from her inner turmoil is almost tangible; and that about sums up the quality of her performance here.
Displaying yet another side of the coin is Kieran Culkin, who in Tim creates a character who, unlike the others, internalizes his adolescent discord while outwardly manifesting an almost aloof disdain for caution in all things. We're given indications and a glimpse into the strife existing within his home and family, and it's enough to make us aware of the source of his discontent. It's a solid performance, though he fails to make any real connection with the audience, most likely due to the fact that Tim is quite simply not an easy character to embrace.
The most subtle and understated performance in the film is turned in by Jodie Foster, who though she lacks enough screen time to adequately develop her character nevertheless manages to succinctly reveal exactly who she is and what she's about. She is stern, and obviously a disciplinarian; but though her methods may be too straightforward, even to the point of seeming malicious, she is not, and is far from being the monster `Nun-zilla' depicted in `Atomic Trinity.' On the contrary, she has a good heart and sincerely wants only to instruct her students in ways that will lead them to a fulfilling life. There is obviously more to Sister Assumpta's story, but the focus of the film must necessarily remain elsewhere, and we are left to infer what we may.
A thoughtful, emotionally involving film, `The Dangerous Lives of Altar Boys' offers a viable perspective on the rigorous undertaking known as `growing up.'
Francis Doyle (Emile Hirsch) is fourteen and in the throes of that inescapable period of change through which we all must pass on the way to becoming who we are as adults. A pupa encased in the cocoon of youth, Francis is straining against that protective shell, attempting to break through into manhood. His family environment is strict, the routine of his life (which includes being an altar boy) is rigid, and puberty is having it's way with him. Adding to his inner conflict, as well, is the fact that his best friend, Tim Sullivan (Kieran Culkin), is continually engaging in exploits that transcend mischief to the point of being outright foolish and dangerous; daring deeds in which Francis must necessarily take part, in keeping with their own established caste and as Tim's confrere in this business of probing life's eternal mysteries. Not to mention, too, that Francis has discovered something else, quite on his own. And her name is Margie Flynn (Jena Malone).
Luckily (perhaps), Francis manages to vent his pent up frustrations and confusion creatively, through animation. With his friends Joey and Wade (Tyler Long, Jake Richardson), he has created a comic book, `Atomic Trinity,' which features four outcast teenaged boys endowed with superpowers (Tim has been included as `editor'). And to channel their hormonal driven rebellion against authority and structure, they have chosen their teacher, Sister Assumpta (Jodie Foster), as their target, for in their eyes she personifies all that is wrong with their world. Assigning her the role of Source Of All That Is Bad, she emerges as `Nun-zilla' in their comic, this haven to which they can flee and momentarily escape the realities of a world they haven't as yet figured out. What they don't realize is that Tim is about to involve them in a scheme which, if effected, is going to change their lives forever. And that `safe haven' of theirs may soon be a thing of the past.
Learning to navigate the rapids of life is no easy task, and director Care treats his subject accordingly, with a sensitive and serious rendering of the material (the screenplay was written by Jeff Stockwell and Michael Petroni, adapted from the book by Chris Fuhrman). Care succeeds by avoiding the kind of embarrassing frivolity that is too often associated with a film of this nature. He maintains credibility at every turn, making the story believable by keeping it on the stage of reality, rather than allowing it to wander into the theater of the absurd. The way he presents the relationship between Francis and Margie, for instance, is entirely convincing in the way they tentatively explore their budding sexuality together, rather than lurching ahead with seemingly sudden and inexplicable knowledge and enlightenment. Their discoveries come more from reaction than action, and the result is a very honest and genuine depiction of the situation. And Care uses this approach consistently throughout the film, which goes far in making it a thoroughly thought provoking drama.
As Francis, young Hirsch gives a commanding performance, exhibiting a maturity and grasp of the character that is far beyond his years. There is a complexity to Francis that demands a tremendous emotional range to be convincing, and Hirsch delivers it all and then some, with a portrayal of astounding depth. Here, in his motion picture debut, he emerges as one of the finest young actors in the business today.
Jena Malone also makes a substantial impact with her acute portrayal of Margie, successfully conveying the tortured soul of this young girl who must endure a most distressing secret. There are moments in which the pain derived from her inner turmoil is almost tangible; and that about sums up the quality of her performance here.
Displaying yet another side of the coin is Kieran Culkin, who in Tim creates a character who, unlike the others, internalizes his adolescent discord while outwardly manifesting an almost aloof disdain for caution in all things. We're given indications and a glimpse into the strife existing within his home and family, and it's enough to make us aware of the source of his discontent. It's a solid performance, though he fails to make any real connection with the audience, most likely due to the fact that Tim is quite simply not an easy character to embrace.
The most subtle and understated performance in the film is turned in by Jodie Foster, who though she lacks enough screen time to adequately develop her character nevertheless manages to succinctly reveal exactly who she is and what she's about. She is stern, and obviously a disciplinarian; but though her methods may be too straightforward, even to the point of seeming malicious, she is not, and is far from being the monster `Nun-zilla' depicted in `Atomic Trinity.' On the contrary, she has a good heart and sincerely wants only to instruct her students in ways that will lead them to a fulfilling life. There is obviously more to Sister Assumpta's story, but the focus of the film must necessarily remain elsewhere, and we are left to infer what we may.
A thoughtful, emotionally involving film, `The Dangerous Lives of Altar Boys' offers a viable perspective on the rigorous undertaking known as `growing up.'