It’s probably bad enough to be a teenager dealing with
the breakup of your parents’ marriage and then getting used to your mom’s new
boyfriend, especially when he’s a raging ass. But on top of that, if you happen
to be the most introverted and socially awkward teenage boy ever dreamed up by
a screenwriter, then you might be the main character in The Way, Way Back, a new family-centered comedy drama from Nat
Faxon and Jim Rash, the team that collaborated with Alexander Payne on The Descendants, another recent film
that finesses the line between family drama and human satire in many of the
same ways. In their first outing as directors, they exhibit some signs of
growing pains, but otherwise have put together a fairly harmless and sweet film
that was close to the best fun I’ve had at the movies this year.
The opening scene sets the tone for the relationship
between Duncan (Liam James) and his mom’s boyfriend, Trent (Steve Carell).
Driving in the car on the way to his Massachusetts beach house while his own
teenage daughter and Duncan’s mom sleep, Trent tells Duncan he thinks he’s a 3
on a scale of 1 – 10. Duncan is mature enough to remark later, “Who says that
to a kid?” The complex thing about Trent is that he probably thinks he’s
helping Duncan, but he’s completely clueless that this boy, who can barely
muster a hello to a girl his age, who walks like he’s always afraid someone’s
about to tackle him, who prefers to spend all his free time hanging around his
mom rather than socializing, needs a father figure who understands him without
calling attention to these things, but can guide him and give him confidence. Of
course he finds that father figure in Owen (Sam Rockwell), an overgrown child
himself who managers the local water park.
The Way, Way Back
is a coming-of-age story filled out with the adults who are necessary in their
children’s lives, but who are nevertheless emotionally absent. Faxon and Rash
have small roles as water park employees and to look at them you might get the
sense that they were once socially awkward teenagers: Rash with his wiry frame
and thick glasses; Faxon with his prominent upper teeth. Of course I have no
way of knowing what kind of crowd they ran with as teens, but judging by the
way they write characters, I would guess they were not part of the “in crowd.”
To a teen like that, parents probably feel constantly emotionally absent even
if they truly aren’t. But the adults in this film need a kick to the head.
Trent’s relationship with his daughter, Steph, is barely developed in the
script, leaving room instead to focus on how he treats Duncan and his mom, Pam,
played by Toni Collette in the role of a divorced mom almost desperate for a
return to normal family life, ironically ignoring the needs of her son in the
process. Allison Janney plays the neighbor and life of the party Betty, who
bursts forth from her home nearly proud that she’s “off the wagon again.” She’s
got three kids: a son whom we glimpse only briefly as a pothead; a teenage
daughter Susanna (AnnaSophia Robb), inexplicably part of that “in crowd” who
befriends Duncan; and a pre-teen son with a lazy eye whom she constantly scolds
to wear his eye patch so as not to “freak people out.” He astutely observes
that she’s a terrible parent. Betty spends most of the time just on the wrong
side of inebriated and Janney pulls it off stupendously. If the character had
been developed a bit more and perhaps given a scene of some emotional weight,
perhaps with Pam, I would say she’s a dark horse candidate for some supporting
actress awards at the end of the year. Finally there are Trent’s friends Kip
(Rob Corddry) and Joan (Amanda Peet). They don’t have kids and so they’re
generally the instigators of heavy drinking, drug use, and infidelity.
The grown up characters are the best written and acted,
some of it so good I almost wish they had chosen instead to make a movie about
them. Carell, Colette, and Janney are especially fine in their roles. But
writing for teenagers is an entirely different animal. There are few examples
of truly exceptional screenwriting for kids. Most recently I think of The Perks of Being a Wallflower, and
also Faxon’s and Rash’s previous screenplay The
Descendants. After this, I get the impression that it was primarily
Alexander Payne’s touch that made Clooney’s daughters in that film so
memorable. All the kids in The Way, Way
Back, including Duncan, Steph, Susanna, and a trio of boys who frequent the
water park are heavily exaggerated in their personalities. I also think it’s in
great part due to poor direction of young actors who don’t quite have the experience
to portray such emotionally complex characters. Duncan’s awkwardness is pushed
beyond the brink of believability and the young lazy-eyed Peter occasionally
looks like he’s smirking beneath every funny line.
But then there’s the other world of the Water Wizz park
where Duncan learns to come out of his shell thanks to the young at heart and
extroverted Owen. Sam Rockwell hams it up in great spirits as the big kid cum
surrogate dad. Faxon and Rash spare us a lot of the usual monologues beginning
with “I used to be like you…” or “The only thing you have to believe in is
yourself.” The relationship between Owen and Duncan is tasteful and
good-natured and never veers toward saccharine. Duncan considers Owen his
friend – his mom is marginally troubled by the fact that he has “a friend who
drives” – but he provides the young man much more than friendship. Owen is the
steady male figure he needs in his life because we know his father is probably
never going to make that call for him to come live in California.
Yes, there is some reliance on typical Hollywood
convention, particularly in the third act when Duncan runs off to attempt a
stunt of derring-do that has been alluded to several times throughout. It
provides a convenient moment for his entire family to come together and see
that he’s led something of an alternative life all summer in a place where he’s
accepted and sweetly adored not only by Owen, but also by the supporting
characters played by Faxon and Rash and Caitlin, the object of Owen’s affection
played by Maya Rudolph. The film ends on a quietly triumphant note between
mother and son, and it all feels right like maybe she’s going to start making
good decisions – decisions that put his happiness above her own – something that
most of the adults can’t grasp, and that a few of them manage to learn.
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