When you’re watching a movie and start thinking that a Robert Bresson film is faster than what you’re currently viewing, you know that’s not a good sign.
That’s what I thought about Boyhood, Richard Linklater’s tedious, overly praised exercise in navel-gazing that takes us through 12 years of a young man’s life. And oh, what a long, uninteresting ride it is, lasting approximately three hours … at least one of which could’ve ended up on the cutting-room floor. Plus, it has two of my least-favorite performers in it: Patricia Arquette and Ethan Hawke. All of these ingredients add up to a pretentious whole, which is reflected in the flick’s general, all-encompassing title.
There’s a difference between something that’s deliberately paced and something that’s just plain slow. Boyhood is slow, and the dialogue doesn’t drive it; instead, it cuts the flow, makes it wallow in narcissistic pseudo-introspection. The characters aren’t intriguing. The plot isn’t involving. Yes, the concept is unusual, but in practice, it doesn’t work … at least, not in this movie. And it’s not like it hasn’t been done before; Michael Apted’s Seven Up! series followed the lives of people from childhood to adulthood, and so Linklater’s conceit isn’t unique or, for that matter, so innovative.
I’ve watched longer films that felt like they took no time at all. Never one of my favorite directors, Linklater has shown with Boyhood that if a simple subject is extended over the period of a decade in movie time, it can feel like a millennium for the filmgoer. Not an exciting prospect from a cinematic perspective … and certainly one that I don’t want to repeat.
If I live that long.