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Richard Linklater's 'Boyhood' gets summer release date

Richard Linklater’s Boyhood, a movie 12 years in the making, will open in theaters on July 11.

Back in 2002, Linklater had the idea to make a movie about childhood — but rather than telling a story about a singular moment or chapter from growing up, he decided to cast a 6-year-old (Ellar Coltrane) and film him a little bit every year until he went to college. Ethan Hawke and Patricia Arquette play the boy’s parents, and Linklater’s daughter, Lorelei, plays the boy’s sister.

IFC Films agreed to produce and distribute the film at the outset, and their faith was rewarded when Linklater’s daring, unconventional film wowed audiences at the 2014 Sundance Film Festival. The film went to receive more accolades at the Berlin Film Festival and SXSW.

Sundance 2014: With tons of movies sold, the lack of a mega deal was no big deal

I can testify that when you go to a film festival, and someone inquires about how the movies were that year, the answer you end up giving — “Really terrific!” “Lousy!” “They were okay!” — is often dictated by exactly one movie. If you saw something that totally knocked you out, the sort of film that you think is going to get major play in the real world, and you’re already dusting off a place on your 10 Best list for it, then that one movie can determine your entire perception of the festival. That’s what happened to me last year at Sundance when I saw Fruitvale (they hadn’t added the Station yet). The fact that you’ve witnessed a certified home run makes the festival feel to you, in hindsight, like…well, a baseball game in which your team hit a home run. It’s more than a good movie; it’s why you came — to see an unheralded filmmaker knock one out of the park. A single movie that rocks your world can define, year in and year out, the Sundance experience — the reason that a festival like this one exists. Some of the films I’ve seen at Sundance that have had that effect include Crumb (1995), Welcome to the Dollhouse (1995), I Shot Andy Warhol (1996), Buffalo 66 (1998), The Blair Witch Project (1999), Chuck & Buck (2000), Wet Hot American Summer (2001), American Splendor (2003), Capturing the Friedmans (2003), Thirteen (2003), Hustle & Flow (2005), Precious (2009), and Fruitvale (2013). READ FULL STORY

Sundance 2014: Richard Linklater discusses 12-year process of making 'Boyhood' -- VIDEO

Boyhood

Director Richard Linklater put an astonishing twist on the classic coming-of-age story when he decided to shoot his latest film, Boyhood, over the course of 12 years. The film follows the life of 7-year-old Mason (Ellar Coltrane) as he grows and makes his way through his formative years from elementary school to high school.

EW’s Sara Vilkomerson sat down with Linklater and Boyhood stars Ethan Hawke (Getaway), Patricia Arquette (Boardwalk Empire), and Ellar Coltrane (Lone Star State of Mind) to discuss the process of making a film whose principle production started 4208 days ago:
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Sundance 2014: Richard Linklater's entrancing 'Boyhood' captures the Zen of growing up

Richard Linklater’s Boyhood, which premiered at Sundance last night, is an entrancing, one-of-a-kind act of dramatic storytelling: a beautiful stunt of a movie. It was shot over a period of 12 years, beginning in 2002, and it takes two hours and 40 minutes to tell the story of a boy named Mason as he grows up in Texas. The hook of the movie — and if it is a stunt, it’s a visionary one — is that Mason is played throughout by a young actor named Ellar Coltrane, who we literally watch grow up, year after year, on camera. That makes the film a kind of cousin to Michael Apted’s series of Up documentaries, but I’m not sure if this sort of thing has ever been attempted in a work of cinematic fiction before.

Linklater, of course, is a storyteller who reveres the art of naturalism, and Boyhood, though it’s a genuine movie, full of bustlingly staged scenes and performances and motifs and arcs, has the feel of a staged documentary about a fictional character. It’s lively and boisterous and very entertaining to watch, because stuff keeps happening, but the film also rolls forward in an almost Zen manner, so that everything that occurs — an angry family dinner, a camping trip, a haircut, an afternoon of videogames — carries the same wide-eyed, you are here significance. The film has that deadpan Linklater tone of slacker haphazardness, but you could also say that it’s almost Joycean in its appreciation of the scruffy magic of everyday life. READ FULL STORY

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