[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…
The Myth of the American Sleepover
Four young people navigate the suburban wonderland of metro-Detroit looking for love and adventure on the last weekend of summer.
A lyrical and distinctively gorgeous tone poem of disillusionment and raging hormones; David Robert Mitchell's The Myth of the American Sleepover dives into the melancholy and the honesty within the darkness of the summer months, as teenagers roam freely in a state of searching and yearning for connection.
While some of the acting is borderline amateurish and a couple of the character arcs aren't as satisfying as they're meant to be, the rest is a solid and beautifully defined work of feeling and emotional discovery. Characters talk, fight, flirt, smoke, drink, and seek, with some individuals discovering more than others, often in unexpected ways. The result is a film of remarkable truth, laden within shots of breathtaking simplicity and nostalgic resonance.
As a first feature, It's damn good. Just on its own, The Myth of the American Sleepover is still damn good. Recommended for all fans of exceptional indies and simple cinema.
Equally quintessential as David Robert Mitchell’s breakthrough is for the modern-day original horror revival, his debut The Myth of the American Sleepover looks to be for the teenage romance portrayed in film. It’s not difficult to see where his transition from the one genre to the other stems from: his 2010 feature is as eerie as any good horror aspires to be, only comparatively lighter on its feet due to the nature of its general thematics (which Mitchell nevertheless accomplishes to intensify and deepen to a level that the film’s scope comes across as transcending doomed-to-fade-in-the-longrun love affairs). Praiseworthily, he does so without ever actively trying to transcend the world wherein these romances take place — that of, and solely…
Ouch. That's the sound of my heart filling up with the immense power of nostalgia. David Robert Mitchell's debut feature evokes an aura of sadness, not in a negative way mind you, but of a time no longer present and may never be again. A time of exploration, fun, perpetual awkwardness and human connection, both primal and sensitive. All the performers here act with intoxicating naturalism, which Mitchell surrounds with a palpable atmosphere that finds the most basic interactions emitting visual poetry. Growing up has its advantages, but nothing can compare to the uninhibited folly of youth. We can only cherish the moments we had, for when we lived them, we could never fully realize how happy they made us. We just didn't have enough time for that...
In this one 4 young people navigate the suburban wonderland of metro-Detroit looking for love and adventure on the last weekend of summer. This has a pretty large cast of very young actors....all of which do a pretty good job. The story is easy to follow and is very believable...the only drawback is nothing really happens in the movie. It is like going to a good party....but since nothing really happened ...you have nothing really interesting to report the next day. Final thought....this is a decent movie...but does nothing to score higher than a 3 star rating in my book.
It's both melancholic as the recent Palo Alto and delightful as John Hughes' works. Most characters seem really shallow, but you can see how these small experiences are slowly making them more mature. The directing is well above-average for this kind of film and it captures perfectly the weirdness and sweetness of this period of life.
It feels like a way too closely controlled observation of the middle school/high school/real life transition. It's David Robert Mitchell's first feature film and it feels very amateurish at times. I may be totally off base here, but to me it felt like a case of over-directing. Instead of letting kids be kids, it turns into let kids read lines. A little improvisation with this age group can go a long way.
But as I said, maybe I'm wrong. I don't think he had much to work with so maybe we got the best possible outcome. At that point though, I think some recasting may be in order. These kids act more like robots than they do middle schoolers. And…
David Robert Mitchell's debut is like It Follows without the horror, and because the script is a bit lacking THe Myth Of The American Sleepover plays more like a mood piece than an engaging drama. It does reveal something about Mitchell: his films portrays teenagers smarter than what is usually seen in today's films, and they populate a world with no cell phones or references to social media, as well as no authority figures (police/parents/teachers). It's perhaps more stylized than realistic, but it's a world of its own, which makes me look forward to more films by Mitchell.
This movie really touched me. It's a very honest coming of age story that is poetic and beautiful. Claire Sloma especially stands out in this film. I did have a couple of issues with the pacing, especially in the beginning, but it picked up and held my interest. This is from the director of It Follows and its style is very similar to It Follows. I would highly recommend it.
Every young star in this film being an unknown adds so much believability and empathy to this movie, a window into a timeless headspace where yearning but not knowing how to act on desire made so many moments quietly tragic.
I watched this while parked for the night in Eden NSW in a campervan that I was driving from Melbourne to Sydney.
Around halfway through a car approached and stopped, it's occupants knocked at my door. Terrified, I called out to them in my calmest sounding voice. No one wants to fuck with someone sensible and unmoved, right?
They weren't there to fuck with me but to suggest I pick another spot to sleep for the night as I had…
Such an underrated gem of a teen movie. The acting isn't amazing, and the direction is so subtle throughout, but this film never got the credit it deserves back in 2010. Roger Ebert said it best in his review: "A lovely, gentle, and very true film." David Robert Mitchell showed me way before It Follows that he was a director I should be looking forward to with every new project he takes on, and he's proven himself to be one of the most talented filmmakers of my generation. A24 and him will kill it with Under the Silver Lake.
Being a young adult as the state of experiencing the final days of summer (childhood) before school (adulthood) starts.
A very enjoyable watch. Mitchell shows already here his great ability at using the backdrop of a suburbia out of time, teenage characters and a very deliberate slow moving visual style that he would put to such great use in It Follows. The slow deliberate pace stretches out the 24 hours in which the film takes place into what seems like a week. Time slows down for just a while. Long enough for the large cast of characters, at times crossing paths, to see what they need to see and experience what they need to experience, if not quite what they…
It's like an American Grafitti for the 2000s. It even pays an homage to it a couple of times.
I got a bit hung up on the grade though, felt it was too magenta, cold and artificial at times. It was shot on the Red One in the early days of digital cinema. So I guess they were revelling in that kinda esthetic that we've grown out of at this point.
O diretor David Robert Mitchell se tornou conhecido por seu brilhante suspense "Corrente do mal". No entanto, sua estreia atrás das câmeras havia acontecido alguns anos antes com este "O mito da liberdade", uma tradução um pouco problemática em relação ao original. Se há algum filme que soube conservar alguns elementos das experimentações de Linklater de início de carreira (em "Jovens, loucos e rebeldes") e trazer sua própria visão, chegando a antecipar algumas abordagens, como as de "As vantagens de ser invisível" e "Palo Alto", mais do que exatamente Harmony Korine, é este.
A história segue um grupo de jovens de um subúrbio de Detroit, que pretende aproveitar seu último dia de verão para, principalmente, chegar a algumas conquistas. Nada…
Surprisingly good double-feature match with the movie I saw next...
UPDATE: I can't add any more titles (it's actually a limit set by Letterboxd). I may create another list to…
Films that I consider to be underrated, underseen, or unfairly judged by critics and/or the general viewing public.