|Rating: The Good – 73.8
Genre: Drama, Comedy
Duration: 103 mins
Director: Nat Faxon, Jim Rash
Stars: Liam James, Steve Carell, Toni Collette, Sam Rockwell
Endearing drama following an awkward teenager as he and his mother spend the summer at her cantankerous boyfriend’s beach house. While the mother gets indoctrinated into her boyfriend’s grownups-gone-wild culture, he finds solace at a local water park under the wing of its wisecracking manager. Rights of passage comedies are difficult to get right because there’s often an onus on the filmmakers to extract the comedy from real life. But as comedy more typically comes from exaggerated characterisation and circumstances, that is easier said than done. The Way Way Back has its fair share of exaggerations but so charming is the project and so easy is it to watch, that they successfully solicit our forgiveness for such transgressions. Of course, that much of the comedy does indeed emerge from realistic sequences (or at least the emotions they’re built around) and that those sequences are so perceptively judged and written helps a great deal.
Critical to this type of film is the script and cast and the former (courtesy of Nat Faxon and Jim Rash) is an honest breath of fresh air, rarely sacrificing the film’s sentiments for cheap gags or tangential comedy vignettes. The latter is loaded with quality from the typically wonderful Toni Collett as the mother to an against-type Steve Carell as her asshole boyfriend. Allison Janney is the crazy neighbour responsible for most of the wilder antics and fulfilling that remit to perfection. As is always the case, The Way Way Back is infinitely enriched by the presence of Sam Rockwell as the park manager. Playing a big kid with a big heart in a quirky comedy is meat and potatoes to Rockwell but his charisma is irresistible and sends a charge of energy throughout the movie.
That said, the real rewards to be found here are in young Liam James’ central performance and his relationship with Collette and Rockell’s characters. Charmingly awkward, entirely sympathetic, yet with a hidden strength he’s the steady pulse at the movie’s core. Collette puts in a gorgeous turn as the insecure mother and there’s so much warmth between mother and son that the movie satisfies despite the darker themes of loneliness. In that last regard, credit must go to Collette and Carell who work terrifically in balancing the tone of the film by maintaining an undercurrent of seriousness through all the laughter. Carell for his part is fantastic as the selfish streak of misery and close observers of this film won’t be too surprised by his more recent Foxcatcher turn. But as deep as everything gets into the adolescent and midlife crises departments, any heaviness is blown away by the fresh sense of fun that Faxon and Rash’s writing and directing bring to the party.