I tried to run away from home once. I got as far as the backdoor, the contents of my backpack totalling two clean pairs of underwear and a pack of biscuits. Joe Toy goes a step of two further in Kings of Summer, culminating in an intense moment where Joe sits backed up against the wall of his makeshift cabin in the woods, having the staring contest of a lifetime with a copperhead snake. As he gazes into cold-blooded reptilian eyes it is as though he is staring into the inevitable - growing up.
Joe (Nick Robinson) is something of a maverick with mischief and has convinced his friends to build a cabin in the woods, the goal to become their own masters. It is the ultimate childhood fantasy; to escape the cloying suburbs and become one with nature, and the boys follow through with all the recklessness that childhood can afford. Much of the conflict in the film comes from the point of view of concerned friends and parents, while the boys live guilt free in the woods, playing at being men but in many ways missing the point.
It is a skillful script and a wonderful performance that makes the essentially bratty Joe a delight to spend an hour and a half with. His mannerisms and delivery of witty remarks sometimes make him seem like the lone sane person in a mad world, and his decision to live in the woods begins to seem logical as the narrative unfolds. Joe is so charming that if he asked me to help him with a zany scheme - I would have a hard time saying no. Nick Robinson summons this charm with ease and is very watchable.
Robinson is ably supported by a remarkable cast, all of whom inhabit their roles with ease.
The children carry the film, with Joe’s stoic friend Patrick (Gabriel Basso) quietly providing a rock for the audience to latch on to. Often the role of straight man is a thankless task, but here it is performed so well that Basso wins the audience over, he is the heart of the group to Joe’s mind, and without him things begin to unravel.
The object of Joe’s affections is the beautiful Kelly (Erin Moriarty). In his mind she is like an ethereal goddess, appearing in vignettes that could be a photo shoot for Vogue. It is a relief then that Moriarty more than holds her own, and delivers a very human performance, she is not the perfect girl that Joe imagines, she is much more. Kelly teaches Joe a very painful lesson in love, and it forces him to grow up in a way he was not expecting.
The most risky performance comes from oddball Biaggio (Moises Arias). While he provides many of the films biggest laughs, he is certainly an acquired taste. It is to Arias’ credit then that despite his comic relief role, he constantly hints at something deeper. While we are explicitly shown why Joe and Patrick choose to run away, we are left to guess at what Biaggio is escaping.
The adult cast all do a good job of rounding out the story without stealing focus from the children. Nick Offerman gives a particularly strong performance as Joe’s Dad Frank, a bruised widow who turns his grief outwards by becoming bitter and sarcastic. At the same time he is relatable, I found myself rooting for him - especially in his tirade against an infuriating delivery boy. If there is a weak link it is Patrick’s cloying parents played by Megan Mullally and Mark Evan Jackson. The stepfordian perfection of their American dream existence is outright creepy, and we are not surprised to hear the mother utter racist slander at the hapless police. When compared to the depth of Offerman’s performance, the robotic pair seem not fleshed out enough. This is a minor gripe as both parts are well played and it is certainly understandable why Patrick chooses to run away.
Ross Riege’s cinematography is gorgeous to look at. There are particularly neat tricks using focus pulls to change location, and visual stings that would put national geographic to shame. The woods themselves are a character, a beautiful environment of dappled sunlight and golden green, but also a hostile obstacle for the boys to surmount.Jordan Vogt-Roberts’ direction is masterful. It plays the right side if indie and rarely strays the wrong side of quirky. Particular highlights are the opening shot of the boys drumming on an industrial pipe, and the two games of monopoly played out with al the tension of a game of Russian Roulette. He gets strong performances out of his cast, and keeps the tone of the film light overall, even the darker moments playing out like the painful moments of adolescence they are rather than becoming melodramatic.
The film is not without missteps. One particular sequence involves Joe’s fantasy daydream of dueling his father to save his maiden fair. The sequence feels as though it was lifted from Scott Pilgrim vs The World, which is a fine film but tonally not in step with Kings of summer. Also a couple of remarks from the film’s wildcard Biaggio illicit afterwards, they are not lingered on as the film moves along at a breathless pace.
Overall, Kings of Summer is a joy to watch. It captures so well that awkward age between adolescence and adulthood, and does so while being hugely entertaining. The cast are charming and a delight to watch, and the script gives even secondary parts a chance to shine. Visually Summer is a treat with enough flourishes of its own invention that it doesn’t look like a collection of sepia Instagram snaps. Kings of Summer manages a fine balancing act, being all about growing up, but letting the audience decide what that really means.
WHO: Nick Robinson gives an assured and promising performance
WHAT: The cabin is a delightful piece of set.
WHY: An uplifting and joyous film
WHEN: As soon as possible!
(Art from: http://www.movieweb.com/giveaway-win-four-the-kings-of-summer-alternate-posters)
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