Larry Clark
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mid90s (2018)
Directed by Jonah Hill
influenced by Kids (1995), Bully (2001), Wassup Rockers (2005)
Themes Visuals
As queasy as Clark’s Kids or Bully are, the conversations between the kids in Mid90s also prove squirm-inducing.
There are also shades of Larry Clark’s Kids, but the difference here is that Hill is careful to never be moralising or overly sensationalist, choosing instead to treat his protagonists with a great deal of tenderness and understanding.
Viewers who were around back then might remember Larry Clark’s “Kids” and other prurient, ostensibly cautionary tales of adolescent misbehavior.
Shot in grainy 16mm and a 4-3 ratio by cinematographer Christopher Blauvelt, “Mid90s” — which takes liberally from Larry Clark’s documentary-styled “Kids” — is first and foremost fetishized nostalgia that delights in nothing as much as period-appropriate, pre-digital minutiae.
Notably, there are elements of Kids, Larry Clark and Harmony Korine’s gritty exploration of 90s teenage life.
Hill’s story suggests equal parts “Freaks and Geeks,” “Kids,” and the adolescent-focused narratives of British director Shane Meadows, but Hill cribs from these precedents with a confidence that injects this lively snapshot of skateboarding reprobates with fresh confidence.
Moselle’s film will likely get compared to Larry Clark’s Kids because of its intense realism, but Skate Kitchen is at the vanguard of a new generation of observe-and-report coming-of-age movies that portray the real lives of young adults without devolving into an all-out exploitation.
"Skate Kitchen" has been compared to Larry Clark's "Kids," probably because the setting and age range of the main characters are the same, but it's a much less dire and alarmist film.
Seen from the point of view of these young women, there is a high-energy and honesty that especially shines in the skate sequences and hangout sessions that evokes feelings of Kids and Lords of Dogtown for this generation.
Of course, there’s a long-standing precedent to capturing this subculture — “Kids” did it, with more adventurous storytelling twists, more than 20 years ago — but Moselle’s subjects hold their own with the surprising ability to clarify their emotions through the cathartic process of hanging out.
With its zits-and-all naturalism and documentary-style immersion into a down-and-dirty New York youth milieu, “Skate Kitchen’s” clearest aesthetic antecedent would seem to be 1995’s “Kids.”
Unlike, say, the alarmist 1995 “Kids,” “Skate Kitchen” doesn’t portray rampaging teenage hormones as a unilaterally malevolent force.
Arnold, who turned in an extra visceral adaptation of Wuthering Heights in 2011, filmed American Honey in chronological order, with much of the film improvised and like Larry Clark’s Kids, it wears its nihilism on its tie-dye sleeve but it also has the beauty and power of a Terence Malick epic.
As with the 1995 film “Kids,” there’s a restless nihilism at the center of “American Honey” that fuels the film’s young antiheroes in their peripatetic rush from one nowhere to another.
In the vein of Harmony Korine’s deliberately affectless teen screenplays like Spring Breakers or Kids , American Honey leaves those questions unasked.
It’s a dose of nihilist picaresque to set beside Larry Clark’s Kids , Harmony Korine’s Spring Breakers and Gus Van Sant’s paeans to doomed youth—and, for the first hour of its 162-minute running time, American Honey swarms the screen with vibrantly uncouth energy.
Newcomer Sasha Lane is Star, who leads the cast of mostly non-actors as the newbie in the gang, which recalls Larry Clark’s “Kids.”
At times it feels as if Arnold has remade Larry Clark’s “Kids” for a more hopeful century, or “Spring Breakers” with real people instead of carnivorous cartoons.
Opening with a permissive Carl Jung quote that speaks to the trajectory of self-improvement (“One does not become enlightened by imagining figures of light, but by making the darkness conscious”), Husson’s directorial debut is too derivative of forebears like “Kids” and “The Rules of Attraction” to earn a spot alongside them, but it nevertheless moves along on the strength of its slyly transgressive undertow.
Thematically, Husson’s film most obviously calls to mind Larry Clark ’s “ Kids ,” while stylistically, it appears Husson is borrowing from every movie Sofia Coppola has ever made.
The French film, a sort of iPhone generation “Kids,” takes a devastatingly aloof approach as a pair of nice girls (Daisy Broom, Marilyn Lima) drifting along on the tides of the culture agree to participate in an ongoing orgy masterminded by Alex (Finnegan Oldfield), who has had sex with so many girls he’s lost count.
Folks on the festival circuit have referred to it as a Gallic version of Kids, but the comparison is more illustrative than apt.
Opposite in spirit to a shocker like Larry Clark’s “Kids,” “Bang Gang” doesn’t aim to titillate or to alarm.
The touchstones are numerous — Lord Of The Flies , Apocalypse Now , Intacto , Aguirre, The Wrath Of God ; there is even something of the immediate intimacy of Larry Clark’s Kids in the teen-make out scenes — but Landes wears his referencing lightly on his sleeve.
Animal instincts abound during various moments in the film, suggesting the darkness of Apocalypse Now when combined with Larry Clark’s Kids (1995), another ode to youthful banality flavored by promiscuity and evil.
The film suggests Larry Clark's alternately hectoring and leering Kids (1995) as cast with bloodthirsty, horned-up child soldiers.
Bonnie and Clyde (1967)
Directed by Arthur Penn
influenced Another Day in Paradise (1998)
Themes Plot
The reason I love the criminal-lovers-on-the-run classics "Bonnie and Clyde" and "Badlands" so much is that the creators of those films are playing with what the audience is willing to accept from their movie characters.
Clark's response is a kind of homage to Van Sant's own Drugstore Cowboy (1989) with a little bit of Bonnie and Clyde (1967) thrown in.
The underlying story structure is from "Bonnie and Clyde,'' which itself was inspired by earlier road movies.
Despite all the huffing and puffing, "Thirteen" is the kind of film (like the even-worse "Kids") that will be described as "shocking" and "a wake-up call" by critics who havent had any contact with actual kids since their own adolescence-real kids will probably bust a gut laughing at the hyperbole and consider it a camp classic.
Catherine Hardwickeâs brilliant, terrifying Thirteen has been meeting a similar reaction to the one generated by Larry Clarkâs film Kids when that film came out eight years ago.
"Thirteen" hits as hard as Larry Clark's "Kids" but doesn't use the titillation factor to keep your interest.
But the fact is, this type of material has already been done and pretty recently at that in 1995's "Kids."
In this doubled effect, it recalls Larry Clark's Kids (1995), exposing bad behavior in handheld Super 16 imagery (here the camera is by the endlessly resourceful Elliot Davis [Get on the Bus, 1996]), that hovers between reportage and sensationalism.
Shockingly similar in tone as "Kids," the 1995 Larry Clark film about a group of New York City adolescents experimenting with drugs, sex, and mischief, "Thirteen" is a teen tragedy of monstrous proportions.
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.
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.
The movie, which observes the world from Leah’s entitled perspective, is the latest in a continuing line of shockers (including “Kids” and “Spring Breakers”), whose depictions of greedy drug-taking and promiscuity are inescapably titillating.
Like “Spring Breakers,” or “Kids,” “White Girl” speaks to youth in tailspin using its own prickly, audacious language, and in doing so announces Wood as one of 2016’s most vital new voices in filmmaking.
Comparisons will inevitably be made with Larry Clark’s Kids (1995), another New York-set succes de scandale about young people out of control that, like this, was produced by Christine Vachon’s Killer Films.
Brace yourself for the salvo that is Elizabeth Wood’s White Girl, the latest in the perennial state-of-the-union movie concerning “today’s youth,” a genre that, yes, goes beyond Larry Clark’s Kids (a film that I often wish never existed, just so people would stop referencing it).
Leah’s careless cavorting through the grimy underbelly of New York—where cocaine and oral sex are more abundant than cabs—has earned White Girl comparisons to Larry Clark’s provocative Kids and Harmony Korine’s hedonistic Spring Breakers.
Loud, flashy and acridly exuberant, an upper and a major downer rolled into one, the movie is one of two vividly cinematic youth portraits this year (the other being Andrea Arnold’s forthcoming “American Honey”) that seem to have been conceived under the spell of “Kids,” the landmark 1995 film about aimless, amoral New York teenagers that put Larry Clark on the map and confirmed the worst fears of parents who saw it.
The Tribe (2014)
Directed by Myroslav Slaboshpytskyi
influenced by Kids (1995), Bully (2001)
Visuals Themes
The director pulls no punches in his ugly depiction of base human behavior, and the result is a little like watching a movie by Larry Clark (Kids, Bully).
Now imagine that after the credits rolled, Ice and J-Lo decided that the best thing to do with their camera now that they’d located this mythic people, whose ancient ways of life will be totally alien to western civilization, was to make them act in a remake of Larry Clark ’s youthsploitation headache “ Kids ”.
Filmed entirely with nonprofessional young actors, “The Tribe” recalls early silent films of course, but also such alarmist cinematic portraits of the young as “Kids” — especially in its confrontational sexuality — and the so-called “problem pictures” of the 1950s.
The director pulls no punches in his ugly depiction of base human behavior, and the result is a little like watching a movie by Larry Clark (Kids, Bully).
Don't be fooled, this is no censor-baiting Larry Clarke ( Bully , Kids ) or Harmony Korine ( Spring Breakers ) style expose, but rather something more akin to Catherine Hardwick's 2003 tale Thirteen, or the beloved John Hughes movies of the 1980s ( Pretty in Pink , Sixteen Candles ).
Don't be fooled, this is no censor-baiting Larry Clarke ( Bully , Kids ) or Harmony Korine ( Spring Breakers ) style expose, but rather something more akin to Catherine Hardwick's 2003 tale Thirteen, or the beloved John Hughes movies of the 1980s ( Pretty in Pink , Sixteen Candles ).
“Eighth Grade” is more genuine, less polished and cliched than Greta Gerwig’s somewhat overrated “Lady Bird” and nowhere as creepy as Larry Clark’s “Kids.”
If Burnham’s name doesn’t ring a bell, then you most likely belong to the demographic who will see this movie as a cross between last year’s “Lady Bird” (also produced by Scott Rudin) and Larry Clark’s ultra-cautionary “Kids,” identifying with Kayla’s dad (Josh Hamilton, rivaling Michael Stuhlbarg in “Call Me by Your Name” for World’s Greatest Dad) as his daughter narrowly avoids (or not) the landmines upon which you’d gladly throw yourself in her place.
Kids this is not, yet as a highly empathetic and slightly terrifying picture of the pain of being a young person in the modern era, it’s just as scary and important.
Grandma Joyce saw Kids, which starred Korine's then-girlfriend Chloë Sevigny and for which Korine contributed the sex-and-scatology screenplay.
The twisted family of "Julien Donkey-Boy" is captured in a concept pioneered by Danish directors in low-res, jerky, cinema-verite fashion by the mind behind "Kids" and "Gummo."
"Julien" is the second film, after "Gummo," from professional Wunderkind Harmony Korine, who first slouched into the media margins with his screenplay for Larry Clark's "Kids."
The Panic in Needle Park is one point of reference, though Larry Clark’s Kids might be another—movies that embed the viewer into a (presumably) heretofore-unknown world, and impress with an insider’s knowledge of that world’s day-to-day realities.
That's the plot in a nutshell, familiar to anyone who's seen the superior River's Edge.
When the film doesn't � as in its aimless early scenes � it plays like an updating of the black comedy "River's Edge," with the same amount of irritating characters but none of the humor.
As a result, Clark undercuts whatever aspirations he may have had in attempting to make a movie of the level of Jonathan Kaplan's "Over the Edge" or Tim Hunter's "River's Edge," two classic studies of lethally disaffected suburban youth.
It's more like a porny and gruesomely didactic fusion of ''River's Edge,'' ''Lord of the Flies,'' and ''I Know What You Did Last Summer.''
Its closest kin is "River's Edge," a 1987 film about a group of high school friends unable to choose between betraying a pal and concealing a murder.
And the kids (as they also were in another teens-from-hell drama, River's Edge) are so blank that you don't care about them -- with the possible exception of Darcy (played appealingly by Yakira Peguero), who is Harmony Korine's update of the maiden whose purity is endangered.
If the tone of lyrical crime saga has critics name-checking Spring Breakers (the portrait of adolescent ineptitude also recalls Larry Clark’s Bully), The Bling Ring isn’t so much interested in provocation as sociology.
Unlike Larry Clark’s under-appreciated Bully, which turns another true story of teen debasement and criminality into a savagely funny dark comedy, The Bling Ring doesn’t have a particular angle on these crimes.
Like her Marie Antoinette (2006), this is a giddy celebration of glamor and privilege, lightly dressed as satire; the merciless social interactions among the kids sometimes reminded me of Larry Clark's Bully (2001), but the characters are so depthless that ultimately this lands closer to Harmony Korine's cheesy Spring Breakers.
Roadrunner: A Film About Anthony Bourdain (2021)
Directed by Morgan Neville
influenced by Kids (1995)
Themes
Roadrunner becomes reminiscent of another doc from Tribeca 2021, The Kids, which delves into the disturbing behind-the-scenes behavior of Larry Clark on the 1995 indie hit Kids.
The movie’s tone is somber and unexcited, its blank-faced investigation of this youthful depravity reminiscent of Larry Clark’s Bully , without all the sneering sleaze.
Several years after its release, Larry Clark’s Bully continues to be seen as just another in a long list of titles from a perceived smut and exploitation peddler, while Nicholas Ray’s Rebel Without a Cause remains an acknowledged classic for its star-making performances by James Dean, Natalie Wood, and Sal Mineo.
"Kids," shot as cinema verite to further blur the line between reality and fiction, has been compared to "Rebel Without a Cause" and other classics of the juvenile delinquent genre.
That is, unless you go all the way back to the screenplay he wrote for Larry Clark’s “Kids” and then the connection becomes far more obvious, because “Spring Breakers” feels about as close to a modernization of that controversial drama as anything else.
That 1997 directorial debut of the controversial enfant terrible -- who had burst onto the scene at 19 with his script for Larry Clark’s “Kids” -- has been variously compared to the art photography of Diane Arbus and to a gorgeous girl in a bikini who’s been dragged through broken glass .
Those that go into Spring Breakers expecting something more akin to Kids or Gummo will come out disappointed.
The quartet of youngsters at the film’s core also impress, the film reminiscent of Kids - Korine’s breakout as a screenwriter – in its depiction of youth seemingly far more truthful in spirit than Hollywood’s, and also when Korine approaches Larry Clark levels of lecherousness as the camera lingers on their scantily-clad frames.
Harmony Korine has been polarising audiences from the time they were first introduced to his dark vision of American teenagers in his script for director Larry Clark’s acclaimed Kids (1995) .
Actually, this universe belongs to Harmony Korine, the brat provocateur whose previous movies — including 1995’s “Kids’’ (which he only wrote but everyone gives him credit for anyway), 1997’s “Gummo,’’ and 2009’s “Trash Humpers’’ — have enraged proper-thinking audiences and critics while building a small, devoted base of cult followers.
The United States of Leland (2003)
Directed by Matthew Ryan Hoge
influenced by Kids (1995), Bully (2001)
Themes
In this way Hoge�s film echoes everything from the films of Larry Clark (Kids, Bully, Ken Park), all of which deal with young people adrift on a turbulent ethical and emotional sea, to Rafal Zielinski�s little-seen 1994 film Fun, which also took inexplicable teenage rage to new places.
In this way Hoge�s film echoes everything from the films of Larry Clark (Kids, Bully, Ken Park), all of which deal with young people adrift on a turbulent ethical and emotional sea, to Rafal Zielinski�s little-seen 1994 film Fun, which also took inexplicable teenage rage to new places.