Round-up 12: Sad Boy Hours

Not the greatest tone for the week. Finals have me beaten up. I still managed to get through a few movies, though. All things considered, and you’ll see what I mean, I probably could’ve picked some better content. I have a bad habit of getting deep into the emotionally disturbed side of cinema (and YouTube, regretfully) to wallow in my own lack of sanity. This week, I went especially hard in the paint with one in particular. If there are any souls reading this that can put a brother on to some more lighthearted genres, I would greatly appreciate it.

I started the week out with a rewatch of The Perks of Being a Wallflower (2012), written and directed by Stephen Chbosky, the writer of the source novel. This one I hold close to my heart just due to the immense weight of its emotion and how it digs its claws into your soul and carefully dissects it by the time the credits are rolling. The story follows Charlie, a young high schooler who doesn’t have any friends and is simultaneously dealing with some harsh personal trauma. What strikes me about this film is the direction by Chbosky, who clearly had a vision for this novel coming to life prior to his making it. The way in which the structure unfolds completely takes the viewer off guard when the traumatic moments occur, and without much levity, considering the PG-13 rating. Leading roles by Logan Lerman and Emma Watson, in particular, are some of the best coming-of-age performances I’ve ever seen put to screen. Paul Rudd gives a wholesome supporting arc as well, if not a bit subdued, to give more attention to the leading arcs and themes. I lowkey regret watching this when I did; I cannot recommend this film, in good nature, unless you are in a pretty solid place emotionally.

The next evening, I continued the doom and gloom tone with a viewing of Alex Garland’s most recent effort, Warfare (2025), co-directed by real war veteran Ray Mendoza. I saw a lot of discourse online about the potential backfiring that this film’s themes would have in removing the glorification of war. Now, having actually seen the film, I’d like to weigh in on this conversation. The concept that this film, in particular, is promoting or glorifying modern warfare in any capacity is simply dim-witted. Many films before it do, and because of this, I can understand where they’re coming from, but did we watch the same film? While the opening sequence showcases the brotherhood these men in arms shared (to the bouncing fun of Eric Prydz’s Call on Me music video, which did in fact go hard), it hardly lasts five minutes before we begin the slow draw of the waiting and paranoia of being watched by the enemy. There is no “badass” winning at all in this story, only trauma, crisis, and loss. When the action does finally kick into high gear, it unfolds far more like a horror film than a war one. The sound design is specific to the region of explosions, the blood and guts, and broken limbs pouring ooze. The absolute horror of war is shown in all its true colors. I would be especially curious to hear more veterans share their opinions on these films, rather than blue-haired morons who will cry wolf over their smallest perceived inadequacies.

And, in continuing on my weekly journey of diving headfirst into depressing material, my next viewing was a repeat of The Spectacular Now (2013) starring Miles Teller as an alcoholic asshole party-going high school senior who refuses to see the future ahead of him. Sipping whiskey from a soda cup throughout, it’s a breakup with his equally obnoxious ex-girlfriend (on and off) that triggers him to meet the quiet, smart girl from around the other side of town. It’s a pretty predictable romp through the coming-of-age romantic comedy, but far more edgy and realistic in its portrayal of the characters. Even the adults in the film are ruthless and mostly unkind to the struggles the protagonists face. This form of realism proves to be the film’s biggest struggle, but simultaneously why it works so damn well in what it aims to accomplish.

Going off of that genre and into something far more disturbing, I came around to Gus Van Sant’s Elephant (2003), a different kind of coming-of-age tale that focuses on a fictional retelling of the Columbine school shooting. The slow walks through hallways, cutaways to various characters living their final moments and not even knowing it, to the absolutely horrific final act, where the horrible reality unfolds in almost real time. This is without a doubt one of the scariest films I’ve ever seen, and not because of the violence itself, but the structure Van Sant takes to get there. The creative liberties taken by the director only embolden the final destruction of life and safety that the school should have always had. I think that’s my biggest takeaway from this one, that what should have been put in cinemas all around this country and celebrated the way our current generation is Adolescence (which has its own whole slew of problems, but I won’t get into that here), especially given the mental health crisis shaking our nation to its core. They’ll make it about anything except the fundamental problems at hand, and that’s why this film served justice to the issue: it didn’t hold back from showing the deep-rooted hatred these young boys had, and how terrifying it can be when they unleash the horror inside of them, all without insulting the intelligence of the audience. Ultimately, a really important film that unfortunately has become an everyday reality for this country.

Well, to finish the week off, I returned my attention to the recommendations of those around me, who are always giving me titles (much nicer ones, too), and I continue to shelve and ignore until I see fit. This was one of those times. Being the mega Kevin Smith fan that I already am, it didn’t take much convincing to come around to his film Mallrats (1995). Holding it next to his magnum opus, Clerks, a year prior in ’94, it’s not nearly as well-refined, in my humble opinion, but still immensely enjoyable and a well-earned addition to the Clerks saga. The story is exactly the kind of hang-out vibe I needed and always love; a pair of down-on-their-luck dudes get dumped by their respective girlfriends and seek refuge in their local mall while they try to scheme a plan to get them back. What ensues is a collage of funny moments, witty one-liners, and a final act that genuinely stands the test of time, and may be one of Smith’s best writing efforts. My only major critiques are some pacing issues and self-indulgent scenes that go on a little longer than I would’ve preferred. However, by the time the credits roll, I had a huge smile on my face, something I hadn’t had with any of the other films from this week…

            One essay and one exam left for the semester, then I’ll be having a little break and celebration time for the next couple of weeks before I start a new job for the summer. I challenge myself to find some happier titles for next week, and I need someone to hold me accountable. As always, please, I encourage comments and participation. What are your thoughts on these films? What would you like to hear my thoughts on next? Until next week.