Review: Youth In Revolt

While a notch or two above the conventional teen sex comedy, or the average Michael Cera movie, Youth In Revolt nevertheless fails to bring up anything completely fresh. The film – an adaptation of C.D. Payne’s novel, directed by Miguel Arteta – centers on our culture’s obsession with virginity as a significant contributor to a person’s worth and sense of fulfillment – or lack thereof. The presentation of this overdone theme is a little smarter and more imaginative than many of the recent efforts in the genre; it tries to outweigh the presence of often unsympathetic characters and dubious morality.

The story starts out with Nick Twisp (Michael Cera), a character no different from any other discomfited adolescent that had ever been portrayed by Michael Cera – describing his precocious interests and lamenting his inability to get any action. What sixteen-year-old girl would ever think of sleeping with a guy who loves his Fellini movies and his Frank Sinatra vinyls? It becomes clear that Nick was too quick to generalize teenage girls when he meets his match, Sheeni (Portia Doubleday), on vacation in a trailer park – witty, obsessed with French culture, and also partial to vinyls and classic films, she quickly becomes the main contender for claiming his virginity. Contrary to what Wikipedia says as of today, Sheeni returns Nick’s affections, though she makes it clear that she has another suitor – a preppy teenage poet by the name of Trent (Jonathan B. Wright). Without having had sex yet, the time comes for Nick to move back to his hometown. He and Sheeni create a convoluted plan, aimed at being together – she suggests that he behaves badly enough for his mom to kick him out, so he can go live with his dad, who would get a job in Sheeni’s town. The desire to be with Sheeni, the pressure to go through with that ridiculous plan, as well as his unhealthy obsession with comparing himself to Trent drive Nick to create a charming, sociopathic alter ego named François Dillinger. Hijinks obviously ensue – François blows up Nick`s trailer, makes life very difficult for the people that surround Nick, and sends him on a variety of dangerous adventures.

What causes Nick to accept his alter ego`s motives so casually? Schizophrenia, bipolar disorder, teenage hormones, or just the ever permissive logic of fiction? We don’t spend enough time with François to find out – his role in the movie is to make wild things happen, not to give us more insight into its main character. At least Nick’s sweetheart, while not that sympathetic as a person, has her own interests, and a distinct, if manipulative, personality. Too often, girls in teen comedies are reduced to pleasant, convenient sex objects, who barely seem to be aware of themselves, and tolerate any obnoxiousness from the male leads. Neither is Sheeni a mere victim of Nick’s crazy antics, having consciously triggered their emergence in the first place, and encouraged their unravelling. How the movie treats the characters’ questionable action in the end is for you to find out, and whether they are morally despicable or morally ambiguous is for you to interpret.

The cast was quite chosen, with the lead actors seeming enthusiastic about the whole thing. There is a slight hint of Michael Cera pushing out of the same awkward character he’s always played. François’s mannerisms are highly exaggerated, but at least they show that Cera can, theoretically, move and speak in other ways, and perhaps could do it better, given the right story. Appearances by Zach Galifianakis, and Justin Long are quite fitting, even from the point of view of someone who is not their biggest supporter. Steve Buscemi’s sparse role of Nick’s father seems constricting for his ability to create uncanny personas, but his fans would probably appreciate his input.

The movie is definitely not without its funny parts, even if they’re not incredibly brilliant. Conventional themes and turns of the plot are spiced up by some genuinely clever lines and details. The dialogue flows smoothly, and the references and jokes are a more intelligent than you could expect – with beat poetry and Jean-Paul Belmondo in the place of, say, Superbad’s penis and date rape jokes. The flattest aspect of the movie’s humour is certainly its portrayal of Sheeni’s religious fanatic parents – they have hardly one dimension, and jokes about them lack subtlety or insight. If movies are going to continue lampooning pious folks, they should do it more creatively; this “lol religious people” thing is getting a bit old.

Speaking of things getting old – this might be a pretentious thing to say, given that it’s only January 8^th, but so many things about Youth In Revolt come across as very last decade. From the unconditional sympathy to main geek’s awkwardness, to the overwhelming preoccupation with all things retro – cars, records, clothing, home decor – it’s like a slightly brightened-up version of all those deliberately quirky, 70s-loving comedies from the 2000s. This could signal a welcome transition away from themes and traits embodied by Michael Cera’s past roles and these types of films in general, or maybe it’ll take longer for teen comedies to acquire significantly more intelligence, creativity and awareness.

Youth In Revolt can be quite enjoyable, though it might have an adverse effect on your sense of whether the characters’ action to be justified. It comes across better than other movies of the same type, despite the feeling that doesn’t quite relieve the subject of teenage lust from its staleness. Whether or not it’ll entertain or disappoint will likely depend on your mood, your desire for fictional justice, and your attitude to the film’s themes in general. It certainly leaves hope that, in the future, Michael Cera comedies might be better and more interesting.

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