Jonah Hill Moves Behind the Camera for Coming-of-Age Skateboard Drama
Starring Sunny Suljic, Lucas Hedges & Katherine Waterston
Directed by Jonah Hill
Jonah Hill has made us laugh in raunchy comedies including Superbad, 21 Jump Street and its sequel, This is the End and Forgetting Sarah Marshall. He played Moneyball with Brad Pitt, howled with Leonardo Di Caprio in The Wolf of Wall Street and voiced dragon trainer Snotlout Jorgenson in two animated How to Train Your Dragon flicks.
Now he’s taking us skateboarding.
Mid90s, which marks his first feature as a director and screenwriter, is a poignant, grittily realistic depiction of kids growing up in working-class Los Angeles circa 1994.
Sunny Suljic (recently in The House with a Clock in Its Walls) stars as 13-year-old Stevie, who admires his older brother Ian (Lucas Hedges, Oscar-nominated for Manchester by the Sea), even though Ian is an abusive, loutish bully. Ian slams back orange juice by the gallon, works out obsessively, collects sports apparel, plays videogames—and pummels Stevie whenever he finds out he’s been poking around in his bedroom, which is often.
Their single mother (Katherine Waterston) is too distracted, self-absorbed and caught up in her own life to notice them, or whatever they’re doing.
With no anchor at home, Stevie drifts—and is drawn into a group of high school slackers he sees on a street corner, razzing a local shop owner, talking smack and showing off with their skateboards.
Stevie “trades up” his kiddie board for a real skateboard and is gradually assimilated into the group, given the affectionate nickname “Sunburn” (because of a comment he makes that amuses everyone). Almost everyone in the group has a nickname—except Ray (Na-Kel Smith), the oldest, and wisest, of the bunch, who dreams of “going pro” with his formidable skilz; and Ruben (Gio Galicia), closest to Stevie’s age, who initially takes the youngster under his wing and schools him on what’s cool…and what’s not.
“Listen to me,” Ruben tells him. “Never say ‘Thank-you.’ People will think you’re gay.”
The camera loves “F—ks—t” (Olan Prenatt), a shaggy-blonde screw-up whose profane nickname comes from his favorite expression. The group gave “Fourth Grade” (Ryder McLaughlin) his moniker as a knock at his limited vocabulary; but he’s an aspiring filmmaker who documents everything with a handheld camcorder.
Hill grew up in upper-class L.A., and this isn’t his autobiography, by any means. But he clearly has an affectionate feel for these dead-end kids. Rich with textures and details of its era and its place, Mid90s is a confident coming-of-age slice of characters and situations that will resonate with anyone who was around during the time—even if you never set foot on a skateboard, or weren’t anywhere near Southern California.
The soundtrack—a mixture of tunes from a diverse slate of artists, from the Mamas and the Papas to A Tribe Called Quest and Cypress Hill, mixed with original sonic-scapes from Oscar-winning Trent Reznor and fellow former Nine Inch Nails member Atticus Ross—sets a tasteful, moody, meandering backdrop, especially for scenes of young ‘boarders drifting breezily down the middle of a freeway at sunset, or teeming like lemmings all over a local park, then scattering and skittering away from “Five-O,” the cops.
It might shock some viewers when young Stevie and his friends talk scatological trash, or do things that push the film toward the far edges of its R rating. They smoke. They drink. And they have sex…sort of. (That scene actually quite accurately presents teenage “sex,” its prelude and its aftermath, as an awkward spectrum of emotions, from both sides of its young gender gap.)
The slightly older teenage girl (actress-singer Alexa Demie) who takes Stevie into a bedroom at a party is one of only two female characters in the whole film (the other is Stevie and Ian’s mom). This movie is about the boyz in the ’hood, and they’re mostly played by unknown actors; sometimes it feels like a documentary—maybe the one Fourth Grade is shooting throughout the actual movie itself.
These youngsters flirt with injury and danger; it’s part of the “lifestyle.” Stevie throws himself into it, partly to show he’s a scrapper who’s got what it takes, but also because he’s been tempered by the beatings of his older brother. Learning to master his skateboard, he repeatedly falls off. Later, he accidentally skates off the roof of a building. And later still, he’s involved in a much more serious incident.
“You literally take the hardest hits of anyone I’ve ever seen,” Ray tells him.
Bumps, bruises and broken bones aside, the movie is kinda sweet, often dreamy, and ultimately a tribute to a type of camaraderie among young, outlier, outsider friends of any stripe, anywhere, anytime. These kids have found each other, even if they haven’t found—and aren’t interested in—a place where they fit in the larger, grownup world.
Mid90s has an edgy, indie feel, and it probably won’t make a big splash with a big audience. It’s a small movie about a small group of friends, a scrappy “family” of wayward L.A. kids who live to “push on a piece of wood” on wheels. But it’s a formidable debut from a first-time director that announces his official arrival into a new filmmaking circle.
And its big accomplishment is heralding that Jonah Hill has found a place, another place, where he fits—and that’s behind the camera.
In wide distribution Oct. 26, 2018