“Let the past, be the past”, is something nobody actually does.
After spending many years in the slammer for a crime he and his lad committed when they were boys, Jack (Andrew Garfield) is finally now out and ready for the real world. That’s why he decides to take up this new name, identity, and start somewhere he hasn’t before. This leaves him to take up a job as a deliveryman, where he not only makes friends, but also possible love-mates. While his social skills are definitely not as up-to-par as they should be, Jack still gets by on trying to fit in, regardless of the social situation. When he’s out at clubs, he drinks a lot and does crazy drugs, when he’s with his girlfriend (Katie Lyons), he’s awkward, but also kind of horny, too. But as much as Jack wants to leave everything he did in the past, exactly there, it still finds its way of coming back to bite him in the rear-end and ruin the great life that he’s been having thus far. This is something that Jack isn’t just afraid may actually happen, but also has him terrified of what he may actually do, once the information of his past becomes known to his newly-made friends.
Does he even age?
Boy A is the kind of movie that, despite its small scale, still works with the big emotions that can either make, or totally break, dramas such as these. However, what works so well for Boy A, is that it takes its relatively familiar-premise and gives it some fresh new life by just having us interested in this guy’s life, right from the very start. Director John Crowley and screenwriter Mark O’Rowe both do a brilliant job of giving us just enough information of this Jack guy, to get a clear picture of him; while we know that he did something heinous and nearly unforgivable when he was younger, we’re never outright told right away. Instead, we’re left to watch him as he tries to live his life and, in the meantime, experience everything grand that life has to offer, for the first time.
And this is all interesting because Jack himself, is an compelling fellow that’s never too easy to pin-down; we get the sense that he’s a genuinely nice kid, but due to his checkered-past, as well as his incarceration and need for it to stay under-wraps, there’s still an odd feeling about him. We see Jack live life, have fun, make friends, and be as happy as one can be when life is as simple as this, but by the same token, we also see him struggle with trying to make amends for what he did when he was younger, as well as trying to make sure that fact never, ever gets out. Of course, there’s a great deal of mystery surrounding what Jack does – there are countless flashbacks to his childhood – but they never feel unnecessary and just a way to take up more time.
In fact, they tell us more about Jack himself.
But really, what element makes Jack work the most is Andrew Garfield who, in a very early role of his, shows us the type of promise he showed before he got stuck playing Spidey. As Jack, Garfield plays these two sides quite well; he’s sweet and earnest as all hell, but he’s also quite scary to watch whenever it seems like he seems like he may be losing his cool. Through it all though, we feel for Jack and want him to actually be happy. Sure, his crime is almost unforgivable, but that’s why this performance, as well as the movie is so well-done.
There’s actually a case to be made here for getting past what someone did many, many years ago. As Jack, Garfield shows that while those scars may never ever heal, they’ll still be covered-up just enough so that one can move on with their life and remember the better things that make people happy to be alive. That’s why, although it is funny to watch as Jack does such things as initiate sex with his girlfriend, as well as get totally wasted at a club, it’s also quite endearing as well. He’s like a little kid, seeing the bright and beautiful things the world can offer.
Which is why when the harsh realities of the world come crashing down on him, it’s heartbreakingly tragic.
“Don’t play Peter Parker, son. The first movie will be alright, but after that, just nope.”
While I won’t get into too much of what occurs during the final-act, I’ll just say that the movie becomes very dark, serious and upsetting, which sometimes, and other times, doesn’t. For one, Boy A gets awfully melodramatic, which isn’t something I thought it could get. While the first two-halves of this are, for the most part, like a thoughtful, but precise character-study, the last half is, as much as it pains me to say, almost like a soap opera. Not to mention that, sadly, it ends on a cliff-hanger that feels completely random and a bit of a cheat. This is why, despite all the greatness within Boy A, it’s hard for me to run to the highest mountain, praising my love and adoration for it.
But still though, I always come back to the performance. Not just Garfield’s, though, as Peter Mullan, who plays Jack’s mentor, as well as his sort-of parole officer, is especially great to watch. There’s a certain degree of heart and pleasantness to this character that, honestly, Mullan doesn’t always get to play with. Don’t get me wrong, nobody does slime quite like Mullan, but it’s also neat to see him play somebody that not only has a conscience, but a very nice one, at that.
Like I said before, though, it’s Garfield’s show the whole way through. That’s why, with 99 Homes already out and about, and with upcoming Martin Scorsese’s Silence, it’s exciting to see Garfield back to his more dramatic-roots, giving us more and more showings of just what kind of talent he actually is. While it’s always been there throughout his whole career, he’s finally going back to it, But if people ever feel like they want to know what the hell I’m going on about, just watch Boy A.
You’ll be surprised, as well as happy.
Consensus: Boy A may have a bit of an odd ending, but features an amazing performance from Andrew Garfield, as well as an interesting look at the life of someone we may not always understand, but see live his life. Heartbreak, happiness and all.
8 / 10
Childhood: Where it all begins.
Photos Courtesy of: Vagabond’s Movie Screenshots, Indiewire, Masculinity Movies