Hill’s debut has drawn a lot of comparison to the no-filter styling of director Larry Clark, and it also easily calls to mind Gus Van Sant’s Paranoid Park.
He tips his hat here to Van Sant’s dreamy 2007 skateboarding drama “Paranoid Park,” borrowing the boxy aspect ratio and attempting similarly lyrical interludes while studiously avoiding that film’s sinister undercurrents.
The film evinces a kinship with the disaffected youth portraits of Gus Van Sant, like Elephant and Paranoid Park, and the darker brand of generational nihilism purveyed by Harmony Korine; its raw sexual content, wild energy and moments of reckless crime specifically recall Spring Breakers.