Gia Coppola
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Filmography
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The Virgin Suicides (2000)
Directed by Sofia Coppola
influenced Palo Alto (2014), The Last Showgirl (2024)
Themes Visuals
Alto plows no ground that hasn't been covered in films such as Kids, Thirteen and even The Virgin Suicides by Gia's aunt, Sofia Coppola.
(In fact, the film owes a heavy debt to auntie Sofia’s debut, “The Virgin Suicides,” a giant poster for which hangs in the Emma Roberts character’s bedroom.)
April’s room is adorned with a poster for The Virgin Suicides while the judge that offers Teddy a chance at redemption is provided in a cameo voiceover by the patriarch himself, Francis Ford Coppola.
It feels closer to a project from Coppola’s aunt (“The Virgin Suicides”) or maybe Gus Van Sant (“Paranoid Park”).
In addition, there are movie posters featured in the film for One from the Heart and The Virgin Suicides.
It feels authentic (Coppola even manages to make a poster for The Virgin Suicides fit in), though not real.
KRISTIAN: “Palo Alto” might be “Kids” for a new geenration…it’s not as shocking or as bold as that groundbreaking film, but it’s still a very real depiction of high school life and all the trials, tribulations and temptations that accompany that time.
A film like “Kids” serves as a shocking wake-up call to absentee parents, while “Elephant” and “Paranoid Park” exist to show how this lack of supervision has gone too far, leading to death (from the last year alone, add pics such as “What Richard Did” and “ Les Apaches ” to that list, all triggered by acts of teenage murder).
The movie often recalls Larry Clark's early work (Kids, Bully) in its effortless authenticity, though in contrast to his emotional brutality, the tone here is gentle and understanding.
Borrowing liberally from the likes of "Kids" and "Elephant," first-time feature director Gia Coppola's "Palo Alto" is a largely familiar portrait of teen angst, but it's also a fairly accomplished one.
As it might sound, it's all pretty familiar stuff, indistinguishable on the page from a dozen other teen movies—it's "Fast Times At Ridgemont High" (a movie which gets a shout-out via a clip of Phoebe Cates' most immortal moment) by way of the airline edit of Larry Clark's "Kids."
The movie often recalls Larry Clark's early work (Kids, Bully) in its effortless authenticity, though in contrast to his emotional brutality, the tone here is gentle and understanding.
Palo Alto falls in the same moody and contemplative cinematic matrix that includes movies like Gus Van Sant’s Elephant, Larry Clark’s Bully, and Sofia Coppola’s The Virgin Suicides.
A film like “Kids” serves as a shocking wake-up call to absentee parents, while “Elephant” and “Paranoid Park” exist to show how this lack of supervision has gone too far, leading to death (from the last year alone, add pics such as “What Richard Did” and “ Les Apaches ” to that list, all triggered by acts of teenage murder).
Palo Alto falls in the same moody and contemplative cinematic matrix that includes movies like Gus Van Sant’s Elephant, Larry Clark’s Bully, and Sofia Coppola’s The Virgin Suicides.
Director Van Sant, for all his excesses in movies like Paranoid Park and Elephant, usually makes his adolescents and their anxieties seem real.
But the new film — written by Kate Gersten, a Coppola clan member by marriage — can’t compare to the piercing emotional intimacy of, say, The Virgin Suicides, Lost in Translation or Priscilla, even if the raw character study at its center steadily builds poignancy.
No – let us not forget Orson Welles pumping out “Citizen Kane” at 24 – but it is fresh and has a bite that feels different even while treading in the same pool as other fine female coming-of-age efforts in the recent past – ”Palo Alto” (2013) and the more accomplished “Diary of a Teenage Girl.”
Save for the occasional John Green adaptation and a few standout indies (“Juno” and Gia Coppola’s exquisitely rendered “Palo Alto” spring to mind), it seemed as though one of our country’s most widely shared rites of passage had been relegated to the creative desert of network television, the whole genre offered up as a gimme for the CW and its ilk.
Anderson received rave reviews for her performance in The Last Showgirl…
Pamela Anderson, straight off the electricity of her remarkable comeback performance in The Last Showgirl…
The path to her full-fledged, post-The Last Showgirl comeback runs through some on-point comedic scatting here.
…dramas (The Last Showgirl)…
Between the acclaimed 2024 film The Last Showgirl, and how much she had me laughing throughout The Naked Gun, I am fully embracing the Pam Anderson renaissance.
Anderson proved that her comeback is not one and done with her critically acclaimed performance in “The Last Showgirl” (2024).
The Perks of Being a Wallflower (2012)
Directed by Stephen Chbosky
influenced Palo Alto (2014)
Music Themes
(It has none of the wit, style, perception or canny musical choices of 2012’s The Perks of Being a Wallflower.)
Both did it better, too (as did recent, more mainstream growing-up movies like "The Perks of Being a Wallflower," "The Way Way Back," "The Spectacular Now" and "Adventureland").
She’s obviously shooting for something as profound as recent troubled-teen classics like “The Perks of Being a Wallflower” and “The Spectacular Now,” but winds up with a story every bit as superficial as her Aunt Sophia’s insufferable 2013 bomb, “The Bling Ring.”
But like the recent "The Perks Of Being A Wallflower" and "The Spectacular Now," it's all about the execution, and Coppola Jr. executes things pretty well.
Richard Linklater’s Dazed And Confused, John Hughes’ The Breakfast Club and, more recently, Stephen Chbosky’s The Perks Of Being A Wallflower all come to mind as teen-targeted movies which accurately translated some of the humor, heartbreak and restlessness of their respective eras to the big screen (though Perks is recent, it’s an adaptation of Chbosky’s influential ’90s novel).