Generation Why is a well executed film, but with ambitions that unfortunately exceed its means. Though its meagre budget of $7000 goes an impressively long way, it doesn't do enough to remedy the symptoms of amateur filmmaking, which include amateurish performances, an often dull soundtrack, and a few tonal inconsistencies. Having said that, the dialogue is frequently witty, the editing is tight, and while not groundbreaking in any sense, the digital cinematography is at all times competent and mostly picturesque. However, when one assesses a budget film such as this, one isn't looking for technical perfection. Rather, they're looking for a unique premise, a well told story, and character. In these regards, Generation Why doesn't offer anything sensationally new or entirely absorbing, but it is refreshing to see a film this ambitious and relatable that doesn't rely on zombies, ghosts, or drugs to get it done.
Generation Why revolves around three friends who, to avoid getting "mired in futility," resolve to quit their jobs and educational ambitions, and instead focus solely on introspection. In doing so, they develop a pseudo-philosophy akin to modern-day bohemians, whereby they refuse to be a part of conventional systems, and become all the happier for it. They insist it's not a matter of rebellion or laziness per se, but rather a different approach to the traditional household brand of human betterment and progress. The director manages to capture the suffocating nature of being this age with adeptness, but not to the degree necessary in order to produce such drastic action on the part of the teens. Though an interesting, and strong premise, the film's thematic scope recedes when it should expand. While no doubt focused on the plight within the generation, there are missed opportunities in further exploring the system - both educational and business wise - that puts the dilemma in the hands of these young adults to begin with.
As far as character goes, the three leads speak as though they are the same person, and essentially carry the voice of the director. This makes sense when one considers that the sense of "why" is supposed to affect the entire generation, but as to whether or not this was intended is questionable, as they sound often just a little too similar in one scene, and then disagree with each other in the next scene. They're given a lot to say, and unfortunately a lot of good dialogue is wasted on the unbelievable delivery of the film's primary lead, John Delahunt. Though enthusiastic, and likely an amiable person, he is the film's weakest link. With that in mind, the crucial spirit of the everyday man is in there, and that authenticity shines through when it's most needed.
As the story progresses, it plods along predictably for the most part, when suddenly there's a surprising foray into the left field. However, as it heads off course, one predicts exactly where it's going to land, thus ending the surprise, but also catching the film before it hits the ground. At times it comes deliriously close to melodrama, and at two hours it's about thirty minutes longer than it needs to be. Still, points go to the premise and the originality of the film. While most filmmakers with no money rely on the inherent campiness of B-grade horror, Prost shoots for a Hughs-like tale of youth at a crossroads, which serves as a well needed breath of fresh air.
In closing, if one looks at the film as a spring board, Generation Why is in need of some tightening. Even with a higher budget, and access to better on-screen talent, the film wouldn't stand out as a "must-see," but it serves as an excellent warm up for a director who has definite potential to go on to greater things. What I'd like to see from Brendan Prost next is something that takes more risks; something that isn't as aesthetically safe, and something that's more concerned with being its own movie instead of being something that looks like the others.
Generation Why revolves around three friends who, to avoid getting "mired in futility," resolve to quit their jobs and educational ambitions, and instead focus solely on introspection. In doing so, they develop a pseudo-philosophy akin to modern-day bohemians, whereby they refuse to be a part of conventional systems, and become all the happier for it. They insist it's not a matter of rebellion or laziness per se, but rather a different approach to the traditional household brand of human betterment and progress. The director manages to capture the suffocating nature of being this age with adeptness, but not to the degree necessary in order to produce such drastic action on the part of the teens. Though an interesting, and strong premise, the film's thematic scope recedes when it should expand. While no doubt focused on the plight within the generation, there are missed opportunities in further exploring the system - both educational and business wise - that puts the dilemma in the hands of these young adults to begin with.
As far as character goes, the three leads speak as though they are the same person, and essentially carry the voice of the director. This makes sense when one considers that the sense of "why" is supposed to affect the entire generation, but as to whether or not this was intended is questionable, as they sound often just a little too similar in one scene, and then disagree with each other in the next scene. They're given a lot to say, and unfortunately a lot of good dialogue is wasted on the unbelievable delivery of the film's primary lead, John Delahunt. Though enthusiastic, and likely an amiable person, he is the film's weakest link. With that in mind, the crucial spirit of the everyday man is in there, and that authenticity shines through when it's most needed.
As the story progresses, it plods along predictably for the most part, when suddenly there's a surprising foray into the left field. However, as it heads off course, one predicts exactly where it's going to land, thus ending the surprise, but also catching the film before it hits the ground. At times it comes deliriously close to melodrama, and at two hours it's about thirty minutes longer than it needs to be. Still, points go to the premise and the originality of the film. While most filmmakers with no money rely on the inherent campiness of B-grade horror, Prost shoots for a Hughs-like tale of youth at a crossroads, which serves as a well needed breath of fresh air.
In closing, if one looks at the film as a spring board, Generation Why is in need of some tightening. Even with a higher budget, and access to better on-screen talent, the film wouldn't stand out as a "must-see," but it serves as an excellent warm up for a director who has definite potential to go on to greater things. What I'd like to see from Brendan Prost next is something that takes more risks; something that isn't as aesthetically safe, and something that's more concerned with being its own movie instead of being something that looks like the others.