Written and directed by: Jonah Hill
When I think back nostalgically to my childhood (which was technically the late 90s and 2000s) I think of supersoakers, skateboarders and gameboys. That’s the nostalgia that mid90s celebrates. Beyond that, it’s hard to point to the titles significance. Perhaps (presumably inadvertently) it serves the function of separating the film fellow 2018 indie skating film Skate Kitchen in that its set in a pre-cellphone society. Perhaps it also speaks to the kind of film Hill wanted to make, one that’s aesthetic, rather than story focused.
The latter is probably the best explanation for the title. Despite it’s nostalgia-inducing hook, mid90s is far too dark a film to be seen as a film about the pleasures of a (barely) bygone era. Rather it’s a film that covers a short period of time in a character’s life in a fairly confined geographical area (it could easily have been called LA, but I guess that sounds slightly less original). The film begins brutally as we see 13-year-old protagonist Stevie (Sunny Suljic) being beaten by his brother Ian (Lucas Hedges). This seen, like mid90s as a whole, more aesthetic than it is narrative. Ian gets respectable amount of screentime, but we never really get to know how he came to be, or how Stevie deals with this problem.
mid90s has been described as a coming of age story, but given the traits I’ve described, such a descriptor feels inaccurate at best, and tragic at worse. It is not the story of Stevie finding himself, or independence or maturity: rather it is a story of a coping mechanism he uses in a world where such development seems hopeless. Stevie joins a group of teenage skaters: Ruben, Fuckshit, Fourth Grade and Ray (Gio Galicia, Olan Prenatt, Ryder McLaughlin and Na-kel Smith). While this development happens early in the film, it is essentially the extent of Stevie’s coming of age.
From there the movie’s highlights are memorable moments of characters being kind and characters being cruel: with the kindness and cruelty coming both from inside and outside of the skater crew. In one early scene, in typical 90s fashion (and who knows, maybe outside of my urban, progressive bubble in typical 2010s fashion too) one of the crew refers to Stevie’s politeness as “gay.” Though not the film’s most pleasant moment it stuck with me as about as good a representation of the genesis of toxic masculinity as one could produce. Luckily, there are well written moments of endearment to counter balance this one.
Because of its aesthetic focus, mid90s struggles to find an ending. While there is major drama near the end, it doesn’t stand out that much given the dramas that precede it. The end of mid90s, simply lacked writing: the writing wasn’t bad, there just wasn’t much. So unfortunately, I left the film without the sense of satisfaction I would have hoped for. In retrospect, however, it had a lot of nice touches along the way. The film’s story wasn’t always pleasant, but through and beyond its unpleasant moments it serves as a strong plea for and defence of all kinds of comraderies.