reviews ratings

0 "Boyhood" i 9
1 Once a year, over the last 12 years, Richard Linklater ('Waking Life' / 'Before Sunset') has reunited the same cast an
2 If this fil 10
3 Every once 10
4 For some pe 9
5 There is so 10
6 One of the 5
7 'Boyhood' h 8
8 By some mir 10
9 The key fac 8
10 So the only 1
11 I was nervo 8
12 Most people 8
13 Epic and ex 10
14 BOYHOOD...What a10great movie! I simply believe in America again! They are also humans, guys, trust me:) Its obvio
15 "Boyhood" H 4
16 And looking 8
17 Obviously a 9
18 On the surf 10
19 Like many o 7
20 A film such 9
21 It is not m 6
22 This film h 10
23 Through thi 10
24 Just watche 10
25 When I watch a reasonably well built film, I cruise at two levels. One is the excellence of how I am captured by the
26 Richard Lin 7
27 Before seei 10
28 'Boyhood', 10
29 I get the h 1
30 Pretty much 1
31 I always co 10
32 I don't und 2
33 An achievem 9
34 "Boyhood" i 8
35 Boyhood is 8
36 This film b 10
37 Ever since 7
38 Boyhood begins with a flourish - two extra sweet kids with big personalities in a typical American household of the
39 Richard Lin 9
40 Richard Lin 6
41 Boyhood is 10
42 It's true: 10
43 Calling "Bo 10
44 This movie 10
45 This movie 8
46 I adore Ric 10
47 I don't kno 10
48 This movie 9
49 This is eas 1
50 This is the 1
51 Boyhood is 10
52 Boyhood fee 9
53 When I hear 2
54 Boyhood (2014)**** (out of 4)For
It did exactly what it wanted to do aasnon-documentary, youaround
I see it; lets life move have toyou
agree
andthat
letsRichard
you feelLinklater's
time whileBOYHOOD
asking all iskinds
unli
55 Thank you for this special
10 experience. Made me feel a whole lot clearer about everything.
56 I was not a 10
57 After more 8
58 The idea of 1
59 I've heard 10
60 Rented this 1
61 A truly spe 10
62 A
People qho give low9ratings think that there is no content. Nothing is happening in the film. There is no build-up, n
realistic
63 But that's the point.
10It's not meant to be like that. Otherwise it would be another commercial film; A guy with a pro
64 This film w 10
65 It's a beautiful movie. It's a privilege to be drawn in 12 years. It was so beautiful to see it. It's a different experimen
66 Most people 10
67 There is no 10
68 The film is 6
69 This film, 9
70 Richard Lin 7
71 I always lo 2
72 One of the 10
73 I didn't ha 6
74 The chief c 10
75 This is the 2
76 I went to t 1
77 The trackin 5
78 I just got 6
79 Mason (Ella 8
80 it is not easy say why. because not the story or performances are the important part, not the locations or dialogs.b
81 Films like 9
82 Unlike most 10
83 They spent 2
84 So I though 10
 85 Oh. My. God 1
86 Don't fool 1
87 Boyhood emb 10
88 Richard Lin 9
89 Is there a 8
90 Boyhood wil 10
91 This movie 3
92 Sometimes w 9
93 There's a l 8
94 The most captivating thing about Richard Linklater's works is arguably the dialogue which alone carries the mesme
95 Using the r 9
96 I get why t 9
97 The journey 6
98 I only have 2
99 I think bac 1
100 Firstly, I 1
101 My Rating : 7
102 I definitel 8
103 From 2002-2 7
104 What a crea 6
105 Boyhood (20 7
106 This was th 1
107 First, an e 3
108 Real life, 1
109 I never hea 3
110 We watch Ma 4
111 I had very 10
112 The life of 1
113 I've sat wi 10
114 The life of 7
115 Boyhood is 8
116 Boyhood too 5
117 It's honest 1
118 I'll say up 8
119 "Boyhood" i 7
120 While criti 2
121 6.75 of 10. 7
122 Richard Lin 10
123 Roger Ebert 10
124 A non-tradi 8
125 Wonderful, 9
There is nothing thrilling in this movie it just show the development of the boy , and I really liked it
126 You just feel like you're
8 living with the boy and you watch him grow so fast . I think this movie is very different from
127 I usually d 1
128 Here's the 1
129 This is not 3
130 This movie 10
131 There's not 8
132 This is a R 7
133 So initial reaction is disappointment. With that out of the way, this is a very fine film. Definitely a pretty good comi
134 Boyhood (20 8
135 Richard Lin 10
136 If you ask 10
137 This movie 1
138 I didn't enj 3
139 In an inter 10
140 3 hours and 10
141 Some people 6
142 "Boyhood' h 7
143 Before watc 9
144 Another gem 7
145 Writer-Dire 10
146 Whoever say 1
147 The esteeme 6
148 I really li 9
149 Trigger War 8
 has reunited the same cast and shot segments of a feature film following the life of a boy (played by Ellar Coltrane – who literally grew int

e of how I am captured by the way the narrative unfolds in a world I am seduced into maintaining (and possibly cocreating). The other glid

cal American household of the 21st century (ish!). We are introduced to Mason and his sister and everything about them is cute, open and
rd Linklater's BOYHOOD is unlike any movie ever made. The idea of telling a coming-of-age story about a brother, sister and their parents a

ee it. It's a different experiment. Although it lasted for 2 hours and 40 minutes and went to an ordinary drama consistency, it was not borin

, not the locations or dialogs.but, in strange manner, the atmosphere. the same atmosphere from many other films who propose honesty
which alone carries the mesmerized audience through the entire length of a movie. As dialogues go, there is of course also Woody Allen, bu
Definitely a pretty good coming-of-age story. There's really not much here to discuss in terms of technical achievements because it's all p
oltrane – who literally grew into this part and became an actor of substance) from the age of 5 through the age of 18; the result is both fas

bly cocreating). The other gliding level has to do with how well I value that world.Sometimes this focuses on the story itself, but usually fo

about them is cute, open and what you would expect from children of their age but with something special too. There is promise in this fi
ther, sister and their parents and shoot it over an eleven year period is just something of genius or a train wreck. With someone like Linkla

a consistency, it was not boring. It was even fun and nice. It's a long film I wonder. I did not regret it. The characters could not be emphasi

er films who propose honesty as the most important target of the each scene. ambitious project, Boyhood propose the ordinary life, every
of course also Woody Allen, but the two masters' styles are quite different. Allen's elite upper middle class dialogue, often philosophical an
chievements because it's all pretty straight-froward and simple. Of course, not counting the obvious achievement at its core and following
ge of 18; the result is both fascinating and inspired. The only other project that comes close in comparison is Michael Apted's 'Seven Up' s

the story itself, but usually for me we are talking about how deeply the surrounding, often just implicit, world has affected me. And wheth

too. There is promise in this film - funny family episodes, great acting from Arquette and Hawke plus cameos from a variety of interesting
reck. With someone like Linklater behind the project it could only turn out one way. The film follows Mason (Ellar Coltrane) as he grows fr

aracters could not be emphasized much. Apart from that everything was nice.

ropose the ordinary life, every day life as only subject. and it does a real admirable work. not surprising. because the ages of Ellar Coltrane
ialogue, often philosophical and erudite at the same time, goes down as an exquisite piece of artwork. Linklater's, we love, as being more
ment at its core and following these actors over 12 years. I can't help but feel that maybe, just maybe, that's played a big part as to its criti
s Michael Apted's 'Seven Up' series which documents the lives of a collection of school children in 7-year intervals, starting in 1964 and stil

ld has affected me. And whether I want to incorporate it into my worlds in some way. Herzog for instance. His early films are profoundly a

s from a variety of interesting people. We see the kids get older and various traumas occur from the Mother's poor choices in men and pa
(Ellar Coltrane) as he grows from a young child until he enters college. Along the way we see the various ups and downs of his life with his

ause the ages of Ellar Coltrane are not only pieces of realistic cinema but a special exercise to define America in different periods, to use th
ater's, we love, as being more down-to-earth and yet no less intellectually engaging. Allen's we admire at a distance; Linklater's we embrac
s played a big part as to its critical reception. On the other hand though, maybe so, so many people really just connected with it on an incr
ervals, starting in 1964 and still going as of the latest edition in 2012. What's so unique about 'Boyhood' is that these individuals (including

is early films are profoundly affecting. The best of these are those that have the least of him in them. Once he got control of the wild proc

's poor choices in men and parenting - as Mason reaches about 15 years old, the film suddenly gets very stale and very boring. He is no lon
 and downs of his life with his mother (Patricia Arquette), father (Ethan Hawke) and sister (Lorelei Linklater).BOYHOOD had an incredible g

a in different periods, to use the characteristic of ages to define social dilemmas, to define family's relationship, to remind old American cin
istance; Linklater's we embrace with empathy. Most would also agree that Linklater's "Before" trilogy, while not entirely ground-breaking,
t connected with it on an incredibly strong emotional level and, well... I just didn't. Not to say that I didn't connect with it, because if that
at these individuals (including Ethan Hawke, Patricia Arquette, and Linklater's own daughter, Lorelei Linklater) evolve and age within a scri

he got control of the wild process he pioneered, you start to see his world become clear. That world is much like his style: It has a stylized p

e and very boring. He is no longer cute - but that does not matter if only the director could have got something out of him that was not a m
.BOYHOOD had an incredible gimmick behind it. After all, in this day and age how could anyone do a project like this where the investors w

ip, to remind old American cinema flavor from crisis periods. a film about nothing. at the first view. precious for its lost of precise message
not entirely ground-breaking, is the best we have so far in this unique brand of cinema synchronizing the progression in years of the actor
onnect with it, because if that was the case I wouldn't have liked it. I just never felt that incredibly strong pull that, say, I felt with Linklater'
r) evolve and age within a scripted narrative that is not 'like' a time capsule, this is a completely authentic period piece that retraces an era

like his style: It has a stylized plateau from which it can observe itself, introspective and formal. But the ground of reality is capricious, dan

ing out of him that was not a monotone of dialogue that has been imbued with the dull monotony of the brain dumb video game generati
like this where the investors wouldn't see any money back for possibly over a decade. Not only that but what would have happened if in,

for its lost of precise message and idealistic roots.

ogression in years of the actors and the characters. One could quip that this puts the makeup people out of business, silly jest but certainl
that, say, I felt with Linklater's Before films, that moment of awe and magic that it seems like everyone had with this. I always pretty muc
eriod piece that retraces an era from the cultural response to September 11th, through the election of Barrack Obama, and into the age of

und of reality is capricious, dangerous. Fate is angry and you enter expecting to be hurt. Once a foot is placed here, you can never fully esca

ain dumb video game generation - something really happens to those kids - they become robotic and that goes for his sister too. Feel very
at would have happened if in, say, year seven, something happened to one of the cast members. It would totally ruin the film or drastic ch
business, silly jest but certainly making a point. I have not read sufficient background material to know whether the idea of "Before sunset
with this. I always pretty much liked it, but never felt that larger amazement. As for the performances, Arquette is easily the best here. Sh
ck Obama, and into the age of social media saturation. As you watch these actors morph through more than a decade of their lives within

d here, you can never fully escape, you can only retreat temporarily to beautifully see the damage, or potential damage. I still watch the m

es for his sister too. Feel very sad to see it - all the personality goes out of these kids from too much computer deadening. That would not
tally ruin the film or drastic changes would have to be made (especially had something happened to the actor). A lot of times these gimmic
her the idea of "Before sunset" was conceived right at the making of "Before sunrise". But it would be hard to convince anyone that durin
ette is easily the best here. She really sells her part in the most realistic, grounded way (right before Hawke, who is also pretty great) and h
 a decade of their lives within a few hours, the story becomes as engaging as its concept. Throughout my life and travels, I've heard so little

tial damage. I still watch the man.I can trust him to engage me and take me where I would not go. Uncomfortable places. But it is real work

er deadening. That would not matter so much if only Linklater could have followed up perhaps even a 10th of the story lines - so many pe
or). A lot of times these gimmick films only work because of the gimmick but that's not the case here. Again, we're dealing with one of the
to convince anyone that during the making of "Before sunset" Linklater did not have at least a vague story board somewhere in the back o
who is also pretty great) and has some truly outstanding moments that let her deliver. The two younger stars don't bode as well. Ellar Col
 and travels, I've heard so little enthusiasm for Linklater outside of Austin and it's a shame because he is a unique force within the industry

table places. But it is real work afterward to tease out who I am and how my world is different. I get something like this with Linklater. He i

of the story lines - so many people left to wander away and no one knows anything about them and the effect on the kids. I mean the mot
we're dealing with one of the greatest filmmakers out there.What's so special about this film is that anyone watching it is going to be able
oard somewhere in the back of his mind for "Before midnight". Each, however, was a 9 year wait for the audience.When you watch "Boyh
rs don't bode as well. Ellar Coltrane, for the most part, does some nice work. Yes, he comes off sort of awkward, but that helps his charact
nique force within the industry and quite an American gem. The director received a well-deserved standing ovation from SXSW's elated au

ng like this with Linklater. He is a natural cinematic storyteller, and has been from the beginning. And now we have this remarkable film. It

ct on the kids. I mean the mother has a life changing relationship with an alcoholic university professor with two kids that are obviously bo
watching it is going to be able to connect with something on the screen. Plus, the added benefit is seeing an actor kid age in front of our e
ience.When you watch "Boyhood" which traces the growing-up and coming-of-age of the protagonist over a 12 year period from age 6 to
ard, but that helps his character and his line deliveries seem to improve as he gets older. Still, his awkwardness also threatens to come off
ovation from SXSW's elated audience having, once again, set a new standard in the exploration of film's potential and reinforcing the limitl

we have this remarkable film. It really deserves a very, very long life and all the celebration I see. It truly grabbed me and almost always I di

two kids that are obviously bonded with Mason and his sister - they spend some years living together - the impact of this split is left high a
actor kid age in front of our eyes. The coming-of-age genre has been beaten to death so many times that coming up with a new way to sh
a 12 year period from age 6 to age 18, it is all too easy to overlook the immensity of the project, because it is such a seamless journey in th
ess also threatens to come off as unrealistic at times. Lorelei Linklater, though, really drags the part down. She seems nervous and totally u
ntial and reinforcing the limitlessness of DIY filmmaking.

bed me and almost always I did not feel unfairly captured. Simple proximity beats drama any day if you can do it. Tension in repose has po

mpact of this split is left high and dry. The film goes on for about 1 hour and 40 mins too long and the aspects of Mason's story that are br
ming up with a new way to show it was just pure genius and it works. It's hard to believe that you can actually follow this families struggle
such a seamless journey in the cozy cinema. You will not consciously register that what you are seeing has been shot over a period of 12 y
e seems nervous and totally uncomfortable with everything after the first act. Maybe we can buy it as a character? No, it just really took m
do it. Tension in repose has power; personal explosions can fill a screen quota but seldom touch. This does. Oh, I have some quibbles abou

ts of Mason's story that are brought out from the director in these long winded and terribly slow agonising (can't wait to leave the cinema
lly follow this families struggles from one year to the next. Seeing the boy's voice change. See his body change. See him go from a boy to a
racter? No, it just really took me out of some scenes. Overall, I really, really liked this. It's been two hours since I saw it, though, and I don'
Oh, I have some quibbles about how the characters are tiered. We have our central kids who own the world we enter. This is as genuine as

can't wait to leave the cinema) minutes are very boring. Sadly I left the movie not caring two hoots about Mason and that seemed a waste
ge. See him go from a boy to a teenager to a young adult. With Hawke and Arquette you know you're going to get great work. The real hig
ce I saw it, though, and I don't find it incredibly memorable. It's a disappointment only because of the super, duper high reviews/praise, a
we enter. This is as genuine as it gets in film. We have the two parents. Now this is background existence. We accept that because they are

ason and that seemed a waste to me.

to get great work. The real highlight is seeing Coltrane go through these various stages and actually be able to deliver a real performance.
, duper high reviews/praise, and time will tell if I'll like it more (or less)
e accept that because they are real as well, but real in a more filmic sense. Ethan Hawke is so trustworthy in this, I marvel. But we get a di
o deliver a real performance. I think it's fair to say that he becomes a better actor as the movie goes on and when the story really starts to
this, I marvel. But we get a different world than that of the kids, and that's deliberate. The third tier are the extra husbands, friends, other
when the story really starts to focus on him, towards the end, you're seeing a really special performance. The entire cast are certainly at th
extra husbands, friends, other relatives, teachers and bosses. Now these are ordinary narrative scaffolding, with traditional speeches borr
e entire cast are certainly at the top of their game and you really do see them as a family and not just a bunch of actors doing roles.BOYHO
with traditional speeches borrowed from ordinary movies in tone and style. The kids are more real in this construction because the other ti
ch of actors doing roles.BOYHOOD will probably never be matched due to countless production reasons. If you thought Linklater's "BEFOR
nstruction because the other tiers are not. But still, I got impatient as some of this went on. The real dilemma after entering Linklater's wo
ou thought Linklater's "BEFORE" trilogy was something special, this here really takes things into a whole new direction and while I'd say th
a after entering Linklater's world and having it penetrate: what of it to use? What of it to respect as true in the tiers we build internally to
direction and while I'd say the story is far from flawless, there's no question that this is one of the bravest, most unique and rather inspiri
he tiers we build internally to live in? Do I place it where the filmmaker has, as the way things are. The moment seizes us, and the best we
most unique and rather inspiring movies ever made.
ent seizes us, and the best we can do is immerse and record? Linklater himself plays with these questions in some other projects and obliq
some other projects and obliquely references them here as 'psychology.' And he sets distance from ordinary viewers by setting it in Texas.
viewers by setting it in Texas. A pledge allegiance to Texas? Or do we take this, as I have today, as a background drama, being one reality
ound drama, being one reality among others that we gather to illuminate a life? I think this is what Malick intends in his similar project. Cin
tends in his similar project. Cinema must move relentlessly; this nature cannot be escaped. The viewer must accept the world in the way a
accept the world in the way and at the pace the filmmaker decides. This is a contract. But it comes with costs that prevent us mapping ou
s that prevent us mapping our real, true reality to that of a film that works to present a real, true one. We always have to shift it to one of
ways have to shift it to one of the surrounding spheres we inhabit. This is a three.