Women rule. Boys don’t drool, but they don’t rule, either.
It’s 1979 and Jamie (Lucas Jade Zumann) is going through some growing pains. Now that he’s growing up more and more, he’s starting to see the world for the sort of ugly, sometimes evil place that it can be, but he’s also realizing some beautiful things about it, too. This is mostly through the women that surround him, day in and day out. His mother, Dorothea (Annette Bening), stands by him every step of the way, smothering and protecting him from the outside world; Abbie (Greta Gerwig), when she isn’t dealing with her own problems, takes him out to rad-as-hell, incredibly violent and crazy punk shows; and Julie (Elle Fanning), while admittedly a friend, also gives him that idea that they could be together, forever, but she’s also a little too busy having sex with random a-holes who don’t care about her nearly as much as Jamie. There’s also William (Billy Crudup), who tries to be something of a father-figure to Jamie, even if he’s got his own problems with growing up, too. Altogether, they create an imperfect, dysfunctional family of sorts that all love and respect one another, but also find it very hard to get by in day-to-day life.
Beach makes everything and everyone a little bit better.
20th Century Women is, thankfully, Mike Mills’ least stylish movie. It also happens to be perhaps his most heartfelt, with fully-realized, smart and honest characters that aren’t hiding behind a behind a bunch of twee style-points and narrative-conceits. Due to this, it often feels like the typical indie we’d expect from one Wes Anderson, however, it doesn’t quite reach those great, emotional highs – if anything, it’s a movie that stays so put in the lows of life, that it’s actually more realistic.
And yet, there’s still a style to this that can sometimes actually get in the way of the story itself.
For instance, we never quite know where the story’s going to go, end up, or even what sort of flow it’s going to follow through with for the whole two hours or so. It’s actually somewhat refreshing to get a movie that doesn’t have any need for such silly things like formula, or convention, but like I’ve stated many times with stylish movies, clearly trying to make their mark, they also can come close to ruining any sort of emotional power that they may have otherwise built on. 20th Century Women is an odd movie in that it constantly interrupts its own flow, but in doing that, it’s constantly telling us more about these characters, their lives, their relationships with one another, and just where America was at the time.
In all honesty, it’s hard to really hold much against 20th Century Women, because even when it does come close to being downright irritating, it still gives something else to chew on, so to speak. It’s not a slow movie and it’s definitely taking its time for unknown reasons – it’s just telling a story, the way it can only be told, shedding light on each and every person we see. It not only makes us feel closer to these characters, but makes us gain a sense of emotional attachment to them, as well as their surroundings.
Because if anything, the movie’s plots a little funky and doesn’t really seem to be all that focused, but a part of me thinks that was the point of what Mike Mills was doing. In life, there’s no clear objective, no one set standard or rules, and there’s sure as hell no just one obstacle to overcome and everything in life is all okay. Life is a constant stream of series of events, happenings and moments that you can’t predict and never quite see coming, which is actually the beauty about life in and of itself.
How many decades is Greta going to conquer next?
The same kind of beauty that, in its brightest, shining moments, 20th Century Women really harps on.
But Mills is a smart director in that he doesn’t always get in front of camera and let everyone know it’s his show and that’s it – he’s got such a good cast that it would almost be sacrilege to get in their way and not allow them to do what they do best. Annette Bening turns in another great performance as a mother-figure, who may not be a total hippie, but also may not be a pushover, either. It’s an interesting narrative that she constantly plays with this character and shows us that Bening can play all sides to a character, no matter how big, or limited her role may be.
Greta Gerwig also shows up and is quite good as the rather punk-ish gal going through all sorts of issues and problems, yet, isn’t a total sap that ruins every scene she’s in; Elle Fanning continues to get better and better and shows it here as the apple of Jamie’s eyes, who may love him like he does, or may be simply just using him as a total friend and that’s about it; Billy Crudup gives one of his better performances in recent-memory as the bro-y super of the building they’re all living in and feels like he could have had his own movie, but because he’s here, he’s just another one of the great, highly interesting stories; and as Jamie, Lucas Jade Zumann, despite having a lot of talent to battle, more than holds his own and makes it very clear that he’s going to have a bright and shining future in movies.
Especially if he can hold his own in a movie filled with as many heavyweights as there are here.
Consensus: 20th Century Women may bounce around a tad too much with its style, but mostly gets by on the sheer strength and warmth of its cast and message.
8 / 10
Nothing like a slightly over-bearing mother’s love.
Photos Courtesy of: Indiewire