[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.
The Myth of the American Sleepover feels like a failed attempt of becoming this decade's Dazed and Confused. While I still enjoyed The Myth of the American Sleepover, I still couldn't help to notice that the film feels like it stole certain narrative points from Richard Linklater's 1993 masterpiece, Dazed and Confused.
A large majority of the performances felt rather too nonchalant along with the actor's characters. The movie arranges forced, coincidental moments that were too good to be true. But ignoring those flaws I was still very entertained throughout the flick.
The authenticity brought to the stage in The Myth of the American Sleepover was on full display. Even though the film could feel kinda inconsistent with its realism,…
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.
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...
It's basically scenes of everyday interactions between American teenagers. It does capture a realistic view into their lives, but it comes across as very dry. There is hardly any laughter or joking in the conversations between the teens. It would not have seemed so slow paced and the teens would come across as more realistic if there had been more humor.
How a film thats clearing striving for realism has zero queer characters is beyond me.
I get what Mitchell's going for - not all that different from "American Pie," it's about teenagers who think about sex non stop but when actually given the opportunity, back away from it, because sex is really not what they're longing for.
But in order to set that up, he creates scenarios that just seem completely unrealistic - and mean that the people around them are pretty sexually messed up. Seriously, a "makeout maze" where people just hook up with random strangers in the dark? A 20 year old big sister who leaves the door open while she bathes? In what universe?
Also, I found the disparity in the ages of the actors really distracting. I know that people go…
Week by Week, Decade by Decade #52: You know what would make this movie more interesting? If a mysterious unstoppable force kept following these kids around and killing them off, one by one.
High School ensemble party-hopping movies have never really been my cup of tea. I really don't care for American Graffiti (might even hate it), and I really do appreciate Dazed and Confused on some level, but would never consider it amongst my favorite films. And those are considered the cream of the crop, not the thousands of mediocre spawn they and other films of their ilk have inspired. I had decent expectations for this, however, because of David Robert Mitchell's follow up (see what I did there?),…
UPDATE: I can't add any more titles (it's actually a limit set by Letterboxd). I may create another list to…
Casually lumping these into one massive heap as if it was a complete genre of its own (which it kinda…