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Mid90s 86 mins

  • Mid90s
  • Mid90s
  • Mid90s

David Stratton Recommends

Brimming with universal truths and experiences of growing up, Jonah Hill's MID90s takes a tender look at adolescence through the lens of the LA skate scene in 1996.

Trust Jonah Hill to make a coming-of-age story that's wickedly irreverent and bursting with heart. The two-time Academy Award nominee's singular gifts as an actor translate seamlessly into his debut as writer-director. MID90S is goofy, intelligent, and tender - and it might have you eyeing that skateboard collecting dust in the garage.

Stevie (Sunny Suljic, The Killing of a Sacred Deer) is a sweet 13-year-old about to explode. His mom (Katherine Waterston, Inherent Vice) is loving and attentive, but a little too forthcoming about her romantic life. His big brother (Oscar nominee Lucas Hedges, Boy Erased and Ben is Back) is a taciturn and violent bully. So Stevie searches his working-class Los Angeles suburb for somewhere to belong. He finds it at the Motor Avenue skate shop.

Set to a connoisseur's soundtrack of '90s rock and rap, MID90S captures the hijinks and hair-raising risk-taking of pre- digital-age teen life. Stevie's pals can be obnoxious one moment and exceptionally kind (even wise) the next. Employing brilliantly timed jump-cuts and a surprisingly spare aesthetic that owes as much to François Truffaut as Judd Apatow, Hill proves to be a uniquely sophisticated chronicler of youthful folly while delivering some of the funniest scenes you'll find on screen this year.

'Jonah Hill made a skate film that doesn't suck, capturing what it's like to grow up a skate rat in a way no other mainstream film has.'- Vice

'Totally irresistible. Hilarious and heartfelt, bristles with fun, feeling and exhilaration.'- Rolling Stone

'The film of the year right here' - Vice

'Straight-outta-the gate masterpiece.' - The Globe and Mail

'Jonah Hill has struck gold.' - Slashfilm

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If Superbad launched an entire subgenre that mocks male insecurity, Mid90s reveals, almost tenderly, the devastation of trying to hide it.

Hill envisions these endless days with a kid's-eye abstraction that's both timeless and firmly entrenched in its own era: his skate punks banter like Kevin Smith extras, wander like Richard Linklater dreamers, and misbehave like Larry Clark lost boys
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