[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.
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.
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...
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.
This film has bummed me out. Mitchell's follow-up, It Follows, is one of my favourite films of the year - so to say I was excited to dig into his previous film was an understatement.
There are parallels between the films in regard to setting and themes around young love and sex. You can see visually between the two that they are from a similar mind, even soundtrack choices aren't that wildly different. However, the key difference between the quality of both falls down to confidence. Mitchell had big balls to pull off daring parts in It Follows, but with American Sleepover his confidence grows throughout the film.
The film takes 30 minutes to settle into a rhythm. Characters come…
As a huge fan of IT FOLLOWS, I wanted to check out David Robert Mitchell's first movie and I'm glad I did. Terrible title notwithstanding, THE MYTH OF THE AMERICAN SLEEPOVER is a great little multi-ensemble "hang-out movie". It's a bit DAZED AND CONFUSED meets FREAKS AND GEEKS and it perfectly captures the fumbling awkwardness of adolescence. This is probably the film you'd get if IT FOLLOWS didn't have murderous body changing monsters. The actors are all good and natural and actually seem to be high school aged. (They're not the decrepit twentysomething old timers of FAST TIMES.)
Note: This film serves as a good reminder that going to high school is a horrible experience akin to prison.
It's basically Dazed & Confused 2010, and I didn't care for that movie for the same reason: I need a plot, not just a cast of boring, privileged teens.
It's actually pretty remarkable how, even in crowd shots during the final scenes at the parade, there is literally one PoC in this entire movie.
Me encanta que en una peli puedas oler el final del verano. Aunque joda.
I'm struggling to conjure up any word to describe this but perfect, even though I know it isn't.
It seemed that every scene had at least one perfect moment, if that makes sense, a glance, an expression, a line of dialogue, whatever. There was something in every single scene that just killed me.
I guess how much you like this movie really just depends on what kind of teenager you were/are. In my case, it almost seems like director David Robert Mitchell is talking directly to me, or at least romantic weirdos like me. Sounds a bit silly, but it feels true.
That bit on the stairs with the lighter and the writing on the arm was, to me, the most perfect representation of my teenage years I can recall, in a sort of weird way.
I so hope that Mitchell comes back to do something like this again. As soon as possible.
do movies about teens make everyone sad? is that the appeal for adults? to revisit your childhood or to pine for the one you never had? (i'm the second one.) i dont know. i am sad. is it just me? i dont know anyone. help me
also i put "100,000 fireflies" on a mixtape i made for a boy and now im double sad and im gonna go kms
Gets compared to Dazed and Confused but these kids are creepier and less fun than those fictional teens.
You'll no longer be kissed and kind
As you long for intuition
As you have to learn the lesson twice
Malick tends to get a reputation, to the point where his name is an adjective, of being involved in the details to an almost controlling point, but really it's a misnomer as he's giving control away: to the actors, to the camera, to the world. His passion really lies in the gesture, the intent behind a movement, a decision, a ray of light in the world that he cherishes in discovering alongside us. I felt that when David Robert Mitchell's debut film, which recalls similar themes and thoughts to his breakout It Follows, does indeed focus on the details to…
There's no way that I can honestly say that this circuitous roadmap of longing in suburbia is more *accomplished* than David Robert Mitchell's subsequent film, It Follows, but I think I just might like it more anyway. The Myth of the American Sleepover meanders around four main characters, their acquaintances, crushes, and best friends creating a collage of confusion, loneliness, love, and a surprising amount of hope. At times it taps into something truly magical. A glance at someone's arm, the flame of a lighter; these gestures and images wormed their way into me and bloomed instantly into warm sensations of awe.
It doesn't always work, unfortunately. The conversation from which the title of the film is based off of…
I viewed this film after two viewings of IT FOLLOWS in preparation for the review I wrote for Breakpoint. I wanted to see what Mitchell's drive was, what made him tick as a director. Maybe give me some clues about what he was aiming for on IT FOLLOWS. What I found was a terrific little film that fits nicely into the American (wasted) Youth films like DAZED AND CONFUSED and EMPIRE RECORDS, among others from the 90s.
Just like his recent effort, Mitchell's direction is tight and he wastes very few scenes. His direction here is a lot more raw than it is in IT FOLLOWS, however. It lingers more here. It feels almost awkward in technique much like the…
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