Tag Archives: teen comedy

Let Him Be a Basketball Player (2017)

Released just a week before Slovenia unexpectedly won EuroBasket championship, this film could hardly ever dream of a better timing. It was a dream come true for their already strong PR department, as the film is continuing to break this year’s viewing records and thus becoming a true sensation among our youngest population. But does this mean the film is actually good and worth seeing? Far from it.

It was merely two years ago that Boris Petkovič made his first jump into the genre of coming of age films with The Beat of Love – a film that for most parts felt deeply uninspired and hardly ever lifted above average. With his latest film, Let Him Be a Basketball Player, he decided to swim even deeper into the world of teens at the brink of puberty, but the result once again hasn’t been particularly successful. Adapted for screen from a 90’s children book written by Primož Suhodolčan, the story either didn’t translate well to the cinematic world, or the written material just wasn’t that good to begin with. Either/or, the end product seems stuck in time that no longer exists (if it ever truly did), has little to zero character development, suffers from a patronisingly black-and-white portrayal of the world and fails to give any kind of a (positive) message to the young audiences.

Despite not being this film’s target audience, I still remember those years all too vividly and enjoy an occasional nostalgic ride to the hormone-fulled years of recklessness, rebelliousness, bad decisions and unrequited loves. However, this is not John Hughes, Celine Sciamma or even The Edge of Seventeenthe latest outstanding discovery in the genre. In times when most teenage films deal with specific issues that should resonate with the young, still forming individuals and adults alike, this film instead feels outdated before it even properly hit the theatres. Teen films are supposed to be about children’s personal growth (and not literal, as this film would like to suggest), peer pressure, parent-child conflicts, about teens questioning their sexual (or even gender) identity. But none of that finds its way into this bland vanilla tasting movie.

The main protagonist is Ranta, the dullest, most uninteresting person whose only identifying characteristics are his height and inspiration to become a basketball player in order to impress a girl (is there ever any other reason?). As it goes, we also have a comedic side-kick – who doesn’t really have a character apart from being obnoxious and funny, and Metka, who could easily remain nameless and the effect of her being in a film would be the same. But the problems don’t stop at this unfortunate trio that is supposed to be the core of this film. There are also pure caricatures of Ranta’s parents, a mean owner of a basketball club who comes across like a cartoonish version of the mafia and a geography teacher that’s meant to be funny but comes across as the biggest bully of them all.

Not only the film fails at establishing at least one relatable, three-dimensional teen character, but it does an even poorer job with the adults – the exception being a basketball teacher, played by Marko Miladinović, who is the only one in Suhodolčan’s world of adults that doesn’t come across as a parody. However, no matter how poorly written the entire cast, I cannot ignore the way this film treats its women. Just as with a recent teenage film disaster, John Green’s Paper Towns, the entire premise of the film is built around a guy who wants to impress a girl – without ever bothering to give this girl any personality, any story arc that would exceed the obvious: she’s pretty. Even the dramatic peak of the film, when Metka accuses him of not knowing anything about her, doesn’t resonate well. First of, the argument comes across as too dramatic, as the scene is not built up to it, and it makes Metka look completely hysterical and irrational (not the only gender stereotyping scene in this film, though). And second of, for us to invest in her character we would need to know something about her, even if Ranta doesn’t. But we are left in the dark, even after she verbally expresses the wish to be “better seen”, as Petkovič is clearly not interesting in giving her any substance. The argument is thus resolved in the most pathetic tribute to Cameron Crowe’s Say Anything…, inclusion of which is again somewhat puzzling to me, as the majority of the audience will obviously be too young to get the reference.

What then is the message that this film gives to children? That they will excel at anything they want as long as they will work hard enough? Kids should learn that sometimes things don’t work out as we would expect or want them to; sometimes other circumstances, even if we have all the right genes for it, simply work against us. And even if things somehow work out, all the hard work we put into something usually has consequences either in our social, personal or romantic life, and it changes us as a person. Ranta, however, stays the same. The same dull, uninteresting character he was at the beginning, who now knows how to throw a ball. And who stays at the right track thanks to all the women in his life: his mother whose only reason to exist is her constant providing of food and other goods, and Metka, who sacrifices all her free time to help him with the grades. Two women sacrificing themselves for nurturing a boy who thinks him playing ball is the most important thing in the world. And who, despite all that, do not deserve any substance or character, as they exist for one and only reason: to help reach Ranta his goal, to help him reach his true potential.

Because apparently, despite being written in the 90’s, this story’s soul got stuck somewhere in the 1950’s.

The Edge of Seventeen (2016): teenage angst movie of the decade

The Edge of Seventeen seemed to have appeared out of nowhere when it premièred at last year’s TIFF, but it wasn’t long before it won over both critics and regular audiences alike. Still, with years of disappointment under the belt when it came to teen movies, I remained sceptical. These past years were overflown with either problematic, body shaming teen comedies such as The Duff, Glee spin-offs (Pitch Perfect) or adolescent dramas filled with overly eloquent and grown up characters (Paper Towns) that were nowhere near to what real teenagers are supposed to sound like, let alone go through. It was clear – the golden days of John Hughes’s teen movies were over and while there were some films over the years that somehow did the genre justice, none of them ever managed to reach the greatness and timelessness of the ultimate teen classic, The Breakfast Club (1985). The genre seemed exhausted and uninspired, with one film after another falling into a trap of good girl vs. bad girl logic, vicious catfights and “who is dating who” premises. And then along came The Edge of Seventeen – a fascinating directorial debut of Kelly Fremon Craig who depicts teenage angst and overall agony of adolescence with such accuracy that it instantly catapulted me back to my dreadful high school experience – even though it’s been almost a decade since I left those horrible, painful and confusing years behind.

Nadine (portrayed by Hailee Steinfeld who excels in the role) is a tomboyish, unpopular and self-absorbed seventeen-year-old who doesn’t quite belong and is yet to find her place under the sun. She doesn’t get along with her peers, nor does she find any refuge at home where she stubbornly fights with her widowed mother whenever she’s not shamelessly hating on her perfect and popular brother. The only person who gets to see the insecure, imperfect but charming Nadine that hides under the carefully constructed façade of uncompromising sarcasm and biting humour with which she keeps everyone else at bay, is her best (and only) friend Krista. That is at least until Krista starts to date Nadine’s brother. Already feeling misunderstood by the entire generation of “mouth-breathers who get a seizure if you take their phone away” and her family, she now starts to isolate herself even more, using sharp sarcasm to protect herself from the world around and self-sabotagingly hurting everyone around  – only to end up getting hurt the most herself.

Where this film really hits the right note is that it avoids going into a direction of high-school hardships and injustices. Nadine’s classmates are not treating her badly and she is never a victim of any kind of social exclusion. It is she herself that isolates her by rejecting the company of everyone around, looking down on her peers and on all they are supposed to represent. She feels like an old soul, wiser and maturer than anyone else around, but it is all just an act and it is sometimes hard to say if even she herself believes in her supposed superiority. She is simply arrogant (as most teenagers are) and deeply insecure, battling her own demons every step of the way. There hasn’t been quite enough films that would effectively explore the idea of how the biggest enemy of an adolescent girl is usually no one else but herself – but The Edge of Seventeen does just that. No matter what is her external situation, whether she runs with the cool crowd or is completely unknown to people at her school, being a teenage girl is exhausting and horrifying, which makes it quite easy for us to sometimes get overwhelmed by our mere existence. Self-doubt and self-questioning are with us every second of the day, no matter how we pretend to look like we have it all figured out, and while this may be what every youngster goes through, there is also constant observation, evaluation and judgement of others that is mostly reserved for girls – and that we at some point start to project onto ourselves. Or as John Berger smartly put it: “A woman is always accompanied, even when quite alone, by her own image of herself. From earliest childhood she is taught and persuaded to survey herself continually.” And indeed this is exactly what Nadine goes through and what causes her so much pain, even though she uses her brother dating her best friend as a catalyst for her angsty outbursts:

You know, ever since we were little, I would get this feeling like… Like I’m floating outside of my body, looking down at myself… And I hate what I see… How I’m acting, the way I sound. And I don’t know how to change it. And I’m so scared… That the feeling is never gonna go away.

What makes this character so authentic and relatable is her constant distress and inherent loneliness. Most of us went through a time when we felt completely and utterly alone, when we believed that nobody could possibly understand what we are feeling, what we are going through. And no party, no amount of alcohol, no sleepover with our best friend could make us feel better and fill the utter emptiness and despair that was slowly taking control of our body. Indeed, Nadine is sinking into a depression (just another thing that hit close to home for me, having been battling depression for a better part of high school myself), but the film smartly avoids lingering on her sad, distressed face or focusing on melancholy afternoons of her sinking into self-hating and damaging thoughts. The direction instead remains vibrant throughout the entire film, bringing to light just how invisible depression is to the world and people around us and how hard it sometimes is for us to get to terms with it; admitting to ourselves that it is really our negative mindset and outlook on life that is the cause of our problems and not our sibling dating the “wrong” person.

But even though there is a lot of depth and sadness running through the film, The Edge of Seventeen ultimately comes across as a thoroughly enjoyable and funny cinematic experience. This is mostly due to fantastic comedic chemistry between Nadine and her grumpy history teacher (Woody Harrelson) who seems to be the only one capable of decent comebacks to her sarcastic attacks and who ultimately becomes the only person she trusts and whom she seeks out when in need.

Although it can’t quite compare to the provocative brilliance of last year’s teen indie, The Diary of a Teenage Girl, The Edge of Seventeen, despite being a mainstream film, ends up being the best teenage angst movie that the past decade had to offer. And why it will probably appeal to generations to come with its timeless wisdom and relatability, is probably most evident in an emotional and cathartic ending when during final confrontation between Nadine and her brother, she finally realizes that she is far from being the only person whose life is filled with problems and who sometimes doesn’t know how to cope with everything that life throws at her. It is a definable moment – one that everyone of us had to go through – when she has to let go of her egotism, realizing that she is just one of many people in the world who feels trapped, burdened and inadequate. And indeed, this feeling may never go away, but as Nadine’s mother would say: “Everyone’s just as miserable and empty, they’re just better at pretending.”

The Basics:
Directed by: Kelly Fremon Craig
Written by: Kelly Fremon Craig
Starring: Hailee Steinfeld, Haley Lu Richardson, Blake Jenner, Woody Harrelson
Running Time: 104 minutes
Year: 2016
Rating: 8