Indie films in which teenagers have to cope with the death of a close family member or loved one tend to be dark, moody films contrasting the loved one’s death with the protagonist’s “birth” (or “rebirth”). They’re somewhat formulaic and predictable, with adventurous films utilizing the concept into a genre film. Nevertheless, it’s hard to argue against how influential the impact of a death has on a teenager at a time when nearly everything in the world will have some bearing on creating who said teenager will become. While All the Wilderness does utilize the concept, the film separates itself from the pack with an entrancing soundtrack, perfect casting in Kodi Smit-McPhee, and cinematography that lends itself well to both Portland’s urban and rural landscape.
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All the Wilderness
Director: Michael Johnson
Rating: N/A
Release Date: February 20, 2015
Still reeling from his Dad’s suicide, James (Smit-McPhee) has found himself fascinated with nature and death, occupying his time sketching illustrations of dead insects and animals into a notebook and telling another kid that he knows when he’ll die. Worried about her son’s development in the wake of the death, James’ Mom (Virginia Madsen) makes him visit a shrink (Danny DeVito) weekly, and it’s at his office that James meets Val (Isabelle Fuhrman), an alluring girl whom he is immediately drawn to. During one adventurous night in which James explores the “wilderness,” he meets Harmon (Evan Ross), a street punk that immediately brings James into his circle. It’s through Harmon and Val that James begins to find a new sense of self and identity
Smit-McPhee shines in All the Wilderness, living up to the accolades the actor has garnered in his already storied, but young career. In the wrong hands, James would have been a whiny brat; in Smit-McPhee’s hands, rather, he’s a multi-layered character inquisitive of his place in the world. The characterization is also thanks to the sound writing and direction from the debuting Michael Johnson. Alongside cinematographer Adam Newport-Berra, Johnson’s story and vision examines all sense of the word “wilderness” by comparing and contrasting the vast woods near James’ home to the squatter warehouse where Harmon lives and the wild, rebellious night life James is introduced to with the reserved, introverted life James spent prior to meeting Harmon. Accolades must also be shared for the film’s soundtrack, which features Sonic Youth, Elliot Smith, and songs from Jonsi and Alex of Sigur Ros; if there were ever a soundtrack that was capable of capturing teenage melodrama that can also capture the atmosphere of a wild forest or city setting, this would be it.
All the Wilderness will appeal to indie film darlings that can’t get enough of coming-of-age films (like myself). As mentioned earlier, Smit-McPhee continues to show growth and talent at a young age, and it’s only a matter of time before he finds stardom (outside of his recent casting as Nightcrawler in the upcoming X-Men: Apocalypse). Writer/director Michael Johnson also shows promise with a strong debut.