If movies have taught us anything it’s that childhood is a magical time where, if you’re doing it right, you befriend space aliens, rescue orcas, inherit chocolate factories or play every sport imaginable with an omni-talented Olympian dog.
Or, if you’re more of the melancholic type, at least you find a dead body in the woods. That’s the bare minimum anyone can ask for.
James Ponsoldt’s “Summering” is a direct descendant of “Stand By Me,” films about youngsters peppered with wispy nostalgia, in which the innocence of their youth is challenged by a corpse tucked away where only children are likely to find it. But whereas Rob Reiner’s classic coming-of-age film romanticized a decades-bygone era, Ponsoldt finds the same magically complicated mash-up of naiveté and depth in a contemporary setting. Childhood, he seems to argue, is always magical and horrifying in equal measure, no...
Or, if you’re more of the melancholic type, at least you find a dead body in the woods. That’s the bare minimum anyone can ask for.
James Ponsoldt’s “Summering” is a direct descendant of “Stand By Me,” films about youngsters peppered with wispy nostalgia, in which the innocence of their youth is challenged by a corpse tucked away where only children are likely to find it. But whereas Rob Reiner’s classic coming-of-age film romanticized a decades-bygone era, Ponsoldt finds the same magically complicated mash-up of naiveté and depth in a contemporary setting. Childhood, he seems to argue, is always magical and horrifying in equal measure, no...
- 8/11/2022
- by William Bibbiani
- The Wrap
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