Set in a near future when water has become the most precious and dwindling resource on the planet, one that dictates everything from the macro of political policy to the detailed micro of interpersonal family and romantic relationships. The land has withered into something wretched. The dust has settled on a lonely, barren planet. The hardened survivors of the loss of Earth’s precious resources scrape and struggle. Ernest Holm (Michael Shannon) lives on this harsh frontier with his children, Jerome (Kodi Smit-McPhee) and Mary (Elle Fanning). He defends his farm from bandits, works the supply routes, and hopes to rejuvenate the soil. But Mary’s boyfriend, Flem Lever (Nicholas Hoult), has grander designs. He wants Ernest’s land for himself, and will go to any length to get it.
From writer/director Jake Paltrow comes a futuristic western, told in three chapters, which inventively layers Greek tragedy over an ethereal narrative that’s steeped deeply in the values of the American West.
I enjoyed this a lot. I admit to being a little disappointed that the PR material for it gave me a completely different idea of what the movie would be (I guess I was expecting a new A Boy and his Dog or Mad Max, while this is more or less a sci-fi drama. Still, it’s a well made film and the director/screenwriter made some interesting choices that I appreciated it.
Ernest is a poor old farmer that owns land but not water. He has a job delivering supplies to the men working to bring water to the fields, but not his fields; the water is going to industrial farms further away. His attempts at convincing or bribing the boss to throw some water his way are unsuccessful. In the meantime, his daughter is dating this really douchy kid who needs to get smacked a lot. Ernest doesn’t trust me and refuses to help him with whatever scheme he’s trying to run.
All this comes to a head when Ernest’s donkey, which is instrumental for his work breaks a leg and has to be put down. He invests on a robotic donkey. When Ernest refuses to loan it to douchy guy, it gets stolen and used to smuggle contraband across the border. This is where shit goes bad and where I stop lest I spoil ya’ll.
There’s not a hint of melodrama as I would probably have expected in a movie about a down on his luck farmer trying to provide for his family (crippled wife and all). Things are mentioned (perhaps sometimes bluntly, like when Flem accuses Ernest of crippling his wife in some kind of accident he likely caused because of his drinking) and then never expanded on, but left to shimmer in the background. There’s no need for them to be brought up again later on when Ernest’s daughter is freaking out and screaming at him. I appreciate the economy.
I rarely review good movies, because reviewing the bad ones is much more amusing and let’s face it, lazy as hell. It fits my personality, so to speak. After watching this one and checking out some reviews online, I just felt that I had to give my 2 cents as well. In fact, let’s look at this review so that I can make fun of it.
Young Ones makes use of brilliant cinematography that is instantly wasted in the hands of a director who is without a shred of talent, an editor who must have been a butcher, mediocre sound editing, and a cast that is almost as misguided and inept as the screenplays author. A story that had true potential was crippled by a lack of character development, and the nonexistence of focus. The directors lack of skill is clearly seen in his failed attempt to (I may be paraphrasing) give the character of the machine, a robotic donkey, a sense of having a soul (not even a glimmer of this is seen in the film), and his somewhat unsuccessful try at implying that there is prosperity outside the boundary of where the characters live. The film is without any sort of outstanding performance by the cast, and lacks even a single character that the audience can empathize with. Personally I believe that this feature was a waste of a perfectly good cinematographer, and I wish I had spent my time at another premier.
This is the only review they have posted on IMDB, and they joined roughly 2 months before they posted it. A bit suspicious, but whatever, I can’t imagine why someone would want to do such a hatchet job on it. Pretty much the whole thing is bullshit, but I’ll try and play along.
Young Ones makes use of brilliant cinematography that is instantly wasted in the hands of a director who is without a shred of talent, an editor who must have been a butcher, mediocre sound editing, and a cast that is almost as misguided and inept as the screenplays author.
That’s pretty bizarre. I think the director did a pretty good job, managing to avoid any unnecessary melodrama of the kind the reviewer seems to be after. The editing was adequate, it didn’t really stick out. The cast includes Eddie Fanning (she was pretty great in this) and Kodi Smit-McPhee who plays the son is an atypical actor and was also great for the role. Then we have Michael fucking Shannon, who is good in everything.
A story that had true potential was crippled by a lack of character development, and the nonexistence of focus.
I’m gonna go ahead and say that Young Ones is very obviously a bit of a fable, a kind of old time western, just updated and moved into the far future. I mean the story is classic: A farm that’s dying or dead, the pioneer father trying to take care of his family and the asshole who wants to fuck them all over and steal their land. Hell, it has a lot of overlap with The River (starring a young Mel Gibson), if you just switch out the flood for the drought and the rich banker guy who wants to sleep with Gibson’s wife with the kid in Young Ones who is sleeping with Shannon’s daughter.
The directors lack of skill is clearly seen in his failed attempt to (I may be paraphrasing) give the character of the machine, a robotic donkey, a sense of having a soul (not even a glimmer of this is seen in the film), and his somewhat unsuccessful try at implying that there is prosperity outside the boundary of where the characters live.
Why the fuck would a robot have a soul? It’s not even an A.I, it’s literally a donkey robot that walks around. Do you expect cars in films to have a ”sense of soul?” This is the dumbest thing I’ve ever heard and shows how far removed the reviewer is from the actual movie and what it set out to achieve.
The film is without any sort of outstanding performance by the cast, and lacks even a single character that the audience can empathize with.
Even the bit roles were interesting and had a little bit of depth, even if they were on screen for a few seconds.
Anyway, fuck you.
4 out of 5 robot donkeys