[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…
Kind of felt like a first draft with some nice ideas but no fulfilling moments. Mitchell triples his competence with It Follows.
Has nice title though.
I only watched this because David Robert Mitchell directed it and since It Follows is one of the best movies ever I wanted to see anything he's ever done...which amounts to two feature films and one of them is It Follows and the other is this. Honestly, I was super surprised. I was expecting some cozy but ultimately forgettable coming of age drama, but this is actually one of the best coming of age dramas I've seen in a while.
It's a lot like Palo Alto but much better. Surprising because this has way more going on than Palo Alto and it succeeds at everything it sets out to do, unlike Palo Alto. The acting's stiff in spots, but that…
Bummed out that this wasn't any good. Mitchell has a good eye but the script is really bland and the cringe-worthy at times. It doesn't have any humor whatsoever, which isn't okay on the last day of summer. And these first-time actors are clearly not getting the direction they need to succeed.
Veo este tipo de películas y digo es "kids" de Larry Clark.
Robert David Mitchell's debut doesn't aggrandize the cinematic youth so much as winkingly use it as a structure to house his keener, more interesting observations. With It Follows growing on me after a second viewing and this new understanding and appreciation of Mitchell's work, here's hoping he's not the next spry indie darling recruited for a heartless blockbuster. He should be sitting pretty in the era of Stranger Things and John Green adaptations, even if those comparisons don't quite do him justice.
My one caveat lies in his philosophy on promiscuity. The careful consideration he lends most core characters doesn't really extend to people who can enjoy sex without love. This is most heavily implied with the mean spirited closeup…
Nostalgia for the Present
For starters, David Robert Mitchell’s first feature film, The Myth of the American Sleepover, is not a terribly original movie. Its obvious touchstones are American Graffiti and Dazed and Confused, a great pair of ‘one night in the lives of teenage kids’ flicks if there ever were any, and it introduces a few things to be admire – setting itself in contemporary times, as opposed to 10 or 20 years ago, and whatever my feelings are as a teen who grew up in that approximate time period of 2010 (they are very mixed, as I’m sure most people’s teenage years are), I’m extremely relieved that Mitchell didn’t push things back to the ‘90s or early aughts,…
Kind of a more dramatic Dazed and Confused or American Graffiti.
Linklater y Malick poseen el cuerpo del debutante David Robert Mitchell para explicarle al mundo lo jodido que es pasar de la infancia a la adolescencia, esa parte de la vida tan mitificada y a la vez tan sobrevalorada. Llena de una luz crepuscular que baña los tejados de un suburbio de Detroit, un grupo de chicos y chicas están a punto de dejar la primaria y entrar de lleno en el high school. Para ello, organizan diferentes fiestas de pijamas (las 'sleepover' del título) para enmarcar un fresco cotidiano que capture los sinsabores de tener catorce o quince años, una edad a la que uno se asoma al abismo de besar por primera vez, de ver un cuerpo desnudo…
Stuff that I have actually seen. Separate list incoming with a watchlist. #GoTeens
Anything else not on either list, I…
Films that I consider to be underrated, underseen, or unfairly judged by critics and/or the general viewing public.