Senior year of high school can be an unusual time. Almost free of the bonds of school, the future only partially defined, hormones and self doubt both raging. 17- and 18-year olds can be mature enough to know a little bit, while still possessing the optimism of youth. The weighty responsibilities of life are mostly yet to bear down, it’s often a reckless, energetic and difficult age. Emotions seem heightened, especially those of romantic love, and loss.
The main character in James Ponsoldt’s “The Spectacular Now” is Sutter Keely. He’s an engaging, clever, self-assured high-school senior. Never at a loss for words, he carries a sly grin and a flask every where he goes. But are his accessories signs of confidence, or simply his way of deflecting and self medicating? He seems well liked, but isn’t necessarily part of the cool crowd. He’s not an athlete, doesn't date the prom queen, isn’t a good student, doesn’t have college plans, and spends most of his time either working at a men’s suit-and-tie shop, with his pretty girlfriend Cassidy (Brie Larson), or paling around with his kinda nerdy friend Ricky (Masam Holden). So who is he, really?
“The Spectacular Now” is propelled by unusually keen performances by its two leads, Miles Teller (as Keely), and Shailene Woodley (as Aimee Finicky). After being dumped by his girlfriend, Sutter spends a raucous night on the town, trying to drown out her memory with drinks and relentlessly hitting on other girls. As the next day dawns, Aimee’s find him passed out face down on her front lawn, his car no where to be found. He helps her with her mom’s paper route, which begins a tender, honest and intimate friendship. But is he in as much as he seems, or merely happy to find Aimee as a soft landing spot, after Cassidy ditched him? Is it all a front?
As Sutter, Teller is particularly convincing. His portrayal of Sutter as a likeable and decent kid at times recalls John Cusack’s character in “Say Anything.” His confidence, swagger and ingratiating way with words suggests a younger version of Vince Vaughn’s “Trent,” from “Swingers.” Like Trent, he’s funny, charming, and forever the life of the party. He also has the unique ability to at once keep the spotlight on himself, while not really revealing any deeper truths about his own nature. He also has the rare gift to make those around him feel like he’s truly listening to them, and really interested in what they have to say. Because of this, he’s the kind of guy men and women both enjoy being around. It’s a compelling, accomplished, and nuanced performance by the young actor.
Woodley’s “Aimee” isn’t quite as outgoing. She’s a little shy, but not retiring. Aimee’s smart, and while happy to have Sutter’s attention, it doesn’t define her. She’s not dependent upon his affection for her happiness. She thinks about her future, and wants to go to college in Philly, after graduation. In short, she’s smart (both in school and out). She’s well adjusted, kind, and not needy, a stark contrast to the bitchy-girl stereotypes too many high-school films trot out.
The dialogue Sutter and Aimee share feels so natural and unrehearsed, it seems ad-libbed. It’s is a credit to the screenwriters (Scott Neustadter and Micheal H. Weber), as well as the novel on which the story’s based (by Tim Tharp).
There are important smaller roles in the film, all of which contribute to its success: Jennifer Jason Leigh plays Sutter’s single-mom. She’s a frazzled nurse, struggling to balance paying bills with being a responsible mother (probably doing a better job of the former than latter). The pair are friends, and Sutter talks to her in a way that belies their closeness. His absent father (played by “Friday Night Lights’” Kyle Chandler) is an altogether different animal. The pair haven’t talked in years, much less seen one another. The dad’s referred to in unflattering terms to throughout the movie, so we’re not quite sure what to expect when he finally arrives. Finally, there’s Sutter’s boss (Bob Odenkirk, who’s seemingly everywhere now; originally of “Mr. Show;” of late “Breaking Bad” and “Nebraska”) at the clothing store. He likes Sutter, and wants to help him, but wonders if his efforts may be in vain.
Think of the best high-school films, the ones that left a lasting impression: the John Hughes films (especially “16 Candles” and “Breakfast Club”), “Fast Times at Ridgemont High,” 2012’s “The Perks of Being a Wallflower,” “Dead Poets Society,” etc… It’s an age mostly not done very honestly in films. So when it is, it stands out. Like those films, “The Spectacular Now” stuck with me, perhaps because it's about so much more than simply the success of young love. It may not rank as a classic, but it is a touching and insightful coming-of-age drama. One that takes its teenage characters seriously. These kids aren’t dumbed-down archetypes we’ve seen a million times before. Instead they’re thoughtful, sensitive, 3-dimensional characters, who feel like people we’ve known (or would like to). I wonder what happened to these kids, as the years passed, they grew up, and life got more serious?
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