Being that this is from a book of short stories (though inter-connected I believe) from James Franco, it's interesting that Palo Alto works as well as it does. At first I wasn't quite sure, and the first half of the movie appears like it'll be just a lot of aimless partying and following 'oh, whatever' teen angst and mishaps; as one girl (Emma Roberts) navigates her own feelings for the boys around her, another guy (Jack Kilmer) gets into car-crash trouble and has to serve community service. Meanwhile, Nat Wolf is like De Niro in Mean Streets transposed into sunny suburban California: a don't-give-a-f*** guy full of crazy - or just a little attention perhaps - and is very likely a sociopath at best.
A lot of this is character stuff, and one could accuse Gia Coppola (daughter of the late Gian-Carlo, grand-daughter of Francis, the latter does a voice of the judge by the way), of doing some of the same middle-upper class navel-gazing as her Aunt Sofia has done in work like the Virgin Suicides or Somewhere. But the good news with Palo Alto is that, after kind of a rocky, ho-hum start, the characters gain some interest, some perspective. It helps that Robert's story involves her soccer coach with a romantic link and played by Franco himself and, whether it's due to his own material or not, he's really good here, subtle, damaged, creepy but not in an overt way, perfectly suburban. And Jack Kilmer's character - as does his performance - grows and deepens over the course of the movie through his work as an artist and in community service.
Palo Alto edges out to be a satisfying experience, though it's more cumulative; you may wonder where this is going after the first half hour and if these self-important teenage-wasteland-ers will be worth following. But I think the creativity in Frano and Coppola's writing is that, meeting them halfway, there's more depth and heartbreak and genuine empathy you get for them as they experience more and more. The most original stuff? Maybe not. At the least it keeps things relatively low-key, and is a revelation for Nat Wolf as the live-wire of the group. It's less about 'oh, don't you feel bad for these well-off people, they have feelings too' than 'these are just people, they're pained, they're growing, give them time before they self-destruct.'
Oh, and Val Kilmer's in it too as an off-in-his-world stoner step-dad. Which is awesome.
A lot of this is character stuff, and one could accuse Gia Coppola (daughter of the late Gian-Carlo, grand-daughter of Francis, the latter does a voice of the judge by the way), of doing some of the same middle-upper class navel-gazing as her Aunt Sofia has done in work like the Virgin Suicides or Somewhere. But the good news with Palo Alto is that, after kind of a rocky, ho-hum start, the characters gain some interest, some perspective. It helps that Robert's story involves her soccer coach with a romantic link and played by Franco himself and, whether it's due to his own material or not, he's really good here, subtle, damaged, creepy but not in an overt way, perfectly suburban. And Jack Kilmer's character - as does his performance - grows and deepens over the course of the movie through his work as an artist and in community service.
Palo Alto edges out to be a satisfying experience, though it's more cumulative; you may wonder where this is going after the first half hour and if these self-important teenage-wasteland-ers will be worth following. But I think the creativity in Frano and Coppola's writing is that, meeting them halfway, there's more depth and heartbreak and genuine empathy you get for them as they experience more and more. The most original stuff? Maybe not. At the least it keeps things relatively low-key, and is a revelation for Nat Wolf as the live-wire of the group. It's less about 'oh, don't you feel bad for these well-off people, they have feelings too' than 'these are just people, they're pained, they're growing, give them time before they self-destruct.'
Oh, and Val Kilmer's in it too as an off-in-his-world stoner step-dad. Which is awesome.