The Kings of Summer (2013)

The Kings of Summer (2013)                3.5/5

Directed by Jordan Vogt-Roberts

Nick Robinson, Gabriel Basso

In this teenage “Dramedy”, friends Joe (Nick Robinson) and Patrick (Gabriel Basso of Super 8) decide they are fed up with their home lives and decide to build a house of their own in the woods. Joined by their new and rather quirky friend Biaggio (Moises Arias, who has played in several Disney Channel series such as Hannah Montana), they do just that, enjoying a month of life on their own terms before trouble starts to arise.

The plot of the film is at once simplistic and outlandish, but believable and well written. Despite one or two elements of convenience (such as a flashback that presents an item required to move the plot forward), the writing is clever, involving small details that arise later in a significant way. Most importantly, the plot is character-driven: most, if not all, parts of the film come about as a result of who the characters are, even in the previously mentioned case of convenient flashbacks.

Thematically, the film is focused on a handful of elements such as manhood, relationships, and nature, managing to demonstrate those themes eloquently. Although there may be room for further exploration of the themes, there is a sense of adequate completeness to the message, while leaving room for discussion. Vogt-Roberts and writer Chris Galletta make the smart choice of picking a relatively small number of significant themes, and saying just enough to make them interesting.

Visually, the film excels, both in cinematography and editing. Cinematographer Ross Riege makes intriguing use of slow-motion, as well as interspersed shots wherein the sun plays a significant role, giving the film appropriate moments of contemplation and reflection. The film makes effective use of montage as well, be it the comparison of Joe and his father Frank (Nick Offerman of Parks and Recreation fame), or a series of close-up nature shots. 

The performances in the film are somewhat varied. At times, there seems to be a disconnect between the serious tone of the film and the humorously absurd dialogue. It seems as though Vogt-Roberts is attempting to avoid making the film too farcical (like a Mel Brooks or Monty Python film), but is so intent on avoiding it that the more ridiculous lines are delivered with a confusing tone. Still, the dialogue shines through, sometimes witty or zany, and other times endearing. The cast involves some fairly well-known comedy powerhouses, including Nick Offerman, Megan Mullally, Alison Brie, and Gillian Vigman, who all deliver brilliant performances with an endearing element typical of a “Dramedy”. Particularly spectacular among these roles is Offerman, who has a varied range of hysterical and emotional moments. Of the newer talents in the film, the one to watch is certainly Arias, who delivers an impressive rendering of the strange, loyal, and endearing support character often seen in this style of film. The endearing performance is akin to that of Zach Galifianakis in several of his well-meaning oddball roles, notably as Alan in The Hangover series of films.

Overall, the film is fun, visually intriguing, and intelligent, delivering emotional moments alongside hilarity to make an entertaining story. The film is certainly worth watching, especially to those who enjoy funny and endearing “Dramedies”.