Rated R for pervasive drug use, language and some sexuality.
With all the films detailing how painful it is to struggle with drug addiction, or the ones that integrate marijuana into a zany comedy, it was so refreshing to watch The Wackness. Instead of settling with over the top theatrics, it embraces these illegal substances, despite the consequences, as part of our culture. They are not the core of the laughs. The Wackness is a pleasant surprise for the summer independent circuit, not only for the humor, but the charm, and the fact that it is such a terrific throw back to the mid-90's.
It is the summer of 1994 in New York City. The temperatures are sizzling, the streets are pounding with hip-hop music, and the demand for pot is high. That is where high school student Luke Shapiro (Josh Peck) enters the picture. While new Mayor Rudolph Guliani is busy rounding up the streets of all wrongdoers, Luke continues to be a profitable drug dealer. He is seeing a therapist named Dr. Jeffrey Squires (Ben Kinglsey), who conveniently requests his payment via bags of grass instead of money. The two become friends, but in the meantime, Luke has developed a significant crush on Squires' stepdaughter Stephanie (Olivia Thirby). Luke is having a tough time. He feels depressed, he needs to get laid, and his parents argue constantly. Even though Dr. Squires is a lost soul himself, he tries to help Luke, and together they explore the city and dodge the bizarre hurdles of their lives.
Josh Peck resembles many teenagers I knew at one time in his depiction as Luke Shapiro. His distant expression and casual walk epitomizes that of a pothead. His business transactions take place out of an ice cream cart he wheels through the park. Because he is relatively innocent looking, this is the perfect cover. Despite his occupation, Luke is good natured person. He wants only to help his mother and father through their hardships, and no one can fault his wanting to get some nookie because we all have to start somewhere right? Peck gives an exceptional performance with heart and vigor. He is a name to watch closely in the future.
Forming an irreplaceable chemistry with Peck is Ben Kingsley, who turns in his best work in years. Kingsley has always been an odd actor. For every award winning portrayal like Gandhi, he will complete half a dozen mediocre ones. Lately, he has lived up to that "mixed bag" reputation after the putrid BloodRayne or The Love Guru, and the reasonably funny You Kill Me. Kingsley has not radiated such a comfortable aura as he does with Dr. Jeffrey Squires for a long time. Squires has a troubled marriage, and marijuana serves as an escape. His bond with Luke guides him through those dilemmas. Peck and Kingsley are a fantastically uproarious as a duo, and without that "spark", this film would never have been so effective.
Supporting efforts are commendable all around as well. One has to afford some credit to Olivia Thirby for her excellent choices in scripts. Or perhaps luck was a factor. Either way, her debut was in the masterpiece United 93. She then had a part in Snow Angels, but her breakout role occurred in Juno as the best friend of the titular character. With her contribution as Stephanie in The Wackness under her belt, she now has 7 projects on her slate. Not too shabby. Famke Janssen plays a cold-hearted bi**h better than most actresses, and she proves that again as Kristin Squires. Even Mary-Kate Olsen was terrific in her minor part.
The Wackness uses pop-culture references and images to its advantage. However, unlike weaker films, they are not inserted randomly. Luke is seen playing the original Nintendo and listening to cassettes because that is who he is. 1994 was a time of pagers, not cellular phones. Kurt Cobain has just died, and his face can be observed everywhere in NYC, though Luke pays little attention. Writer/Director Jonathan Levine has laced so many hysterical lines to accompany the coming-of-age theme. Levine never gets carried away with the comedy. He understands when to shift gears, flesh out the characters, and further build the storyline.
Every relationship is wonderfully out of the ordinary compared to the majority of related pictures. The time Luke and Stephanie spend together makes sense. They are young, and thankfully that fact is not overlooked in terms of attaining realism. The relationship between Luke and his "boss" Percy (Method Man) is unique in that he is not a stereotypical caricature. The crime and violence that is normally associated with drugs is absent here. Luke is not aggressive with his customers, and he does not flash a weapon. Why should he?
Music is an integral aspect of The Wackness. Hip-hop tracks of old infuse the proceedings with a vibrant rhythm. The genre has changed since then, but in 1994, Luke was listening to the Notorious B.I.G., A Tribe Called Quest, and Nas. The nostalgia of hearing these tunes with such flavor makes one wish for those days to return. Jonathan Levine is adept in grounding specific moments in reality, while knowing precisely when to exaggerate for comedic purposes. His style is energetic, but visually attractive in that he pauses to capture several breathtaking shots. The appearance of The Wackness is desaturated and gritty, but it fits for the location, and adequately accentuates to the indy approach.
Coming-of-age films are often underrated and easy to criticize. The trailer for The Wackness intrigued me, but I had no idea I would become immersed in its universe and mesmerized by its characters. As the sophomore offering for filmmaker Jonathan Levine, he has revealed an ability to take worn concepts and themes, and mold them in an offbeat way. This is not a completely flawless gem, and it did garner the 2008 Sundance Audience Award, but it deserves higher praise still. The transition from high school to college continues to hold the same obstacles, but life has definitely changed since 1994. I guess this can be referred to as a period piece.
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