The Syracuse-based film company American High has centered its focus around making “eclectic” stories about high schoolers finding themselves during “the most formative (and often most hilarious) years of their lives,” according to its website.  

Based on its film “Big Time Adolescence,” which is streaming on Hulu, the small production company is sticking to its message. This film is a well-acted and unique story of youthful rebellion and failure that feels both current and timeless at the same time. 

Monroe “Mo” Harris (Griffin Gluck) is a 16-year-old with very few friends his age, mainly because he has been spending so much of his time with his older sister’s ex-boyfriend, slacker Isaac “Zeke” Presanti (Pete Davidson). Mo’s efforts to gain notoriety in high school come from Zeke’s advice — which leads to consequences.

That description may undersell how unique this film really is. Sure, stories about unreliable mentors with impressionable youths have been told before, but this tale feels wholly original due to its off-kilter sense of humor and relationships. There are several occasions in which people jokingly call Zeke Mo’s dad. Moments like this express how the film works on several levels. 

Mo wants to enjoy himself in high school and feels the best way to do so is to follow the lead of the once-popular Zeke. Whether or not it is a good idea to follow this slacker’s lifestyle is a valid question. But, based on how charming Zeke is, it is completely understandable why Mo would be enamored with this lifestyle, even if he is hesitant to agree with Zeke’s decisions. Soon, Mo starts becoming so much like Zeke that the line between the two starts to blur.  

This creates another conflict with Mo’s dad, Reuben (Jon Cryer). Throughout the film, Reuben is not only upset with his son for consistently following Zeke’s lead, but he is also jealous of how he has been unable to earn his son’s support. It is a reasonable dilemma that puts all familial relationships compared to those of one’s friends into question. 

These conflicts are believable in part because of the grounded screenplay and performances. First-time writer-director Jason Orley clearly understands how teenagers act and speak, as evidenced by the dialogue filled with swearing, mischievous actions and doubt of every single action. 

The cast, mostly filled with high school-age actors, also does a fantastic job. Gluck and company embody the intricacies of suburban high school while never going over-the-top. Pete Davidson is perfectly cast as Zeke, giving the character a shell of calmness that disguises his sadness and fear about his unchanging status in life. 

In terms of craft, “Big Time Adolescence” is a solidly produced film. The cinematography and editing are by no means overly showy. This is not a problem. In fact, the minimalist style allows for the actors and the storytelling to play front and center in the film. In addition the soundtrack is fantastic. It is mostly composed of modern songs with some oldies intertwined. Every song fills the background with the atmosphere of a high school narrative of this time period — not unlike the classic and similar 1993 teen comedy “Dazed and Confused.” 

In many respects, “Big Time Adolescence” plays like a loosely organized story. Yes, every action works off another. There is a structure to the story, but watching the film does not feel like something over-produced in any facet. The naturally progressing scenes and relaxed nature of the film make “Big Time Adolescence” flow smoothly. It also allows the viewer to more easily understand why a person would attach themself to Zeke and the consequences this brings.

“Big Time Adolescence” takes a challenging subject matter and portrays it with a flowing story about insecure people trying to find their places in the world in high school. This comes together in a humorous, emotionally resonant narrative, just like joking about your yearbook with friends many years after graduation.

Published on April 13, 2020 at 10:40 pm

Contact Patrick: pagunn@syr.edu