Directed by Elijah Bynum
Starring – Timothee Chalamet, Maika Monroe, Alex Roe
The Plot – Daniel Middleton (Chalamet), a likable but socially awkward recent high-school graduate, is spending the summer before college visiting his aunt on Cape Cod. Neither a “townie” nor a wealthy “summer bird” dropping in for the season, Daniel struggles to find his place-until he meets Hunter Strawberry (Roe), the local bad-boy who peddles marijuana to well-off vacationers when he isn’t protecting his younger sister McKayla (Monroe) from overzealous male suitors. Sensing an opportunity, Daniel persuades Hunter to go into business, dealing weed up and down the Cape together as the summer heat intensifies. Newly confident, Daniel falls for McKayla, keeping their relationship secret until it becomes explosive. Set in the summer of 1991 against the backdrop of a looming hurricane
Rated R for drug content and adult language throughout, sexual references, and some strong violence
– Concise editing that visibly narrates the free-flow of the film’s narration as told by an off-screen character. The establishing shots of Cape Cod offer a distinct tone of personality and escapism that many of the town folk adopt, and the endless energy with the introductory scenes really builds a pulse from within that gets you excited for what’s to come.
– As for the narration itself, it speaks vividly for the rumor mill of gossip within the town and how they perceive certain characters as legends of stories handed down. There’s plenty of interview style perspectives initially, that we compare and contrast for the similarities and differences that only we can piece together, since we are getting the entire spectrum of speculation. In this regard, its storytelling reminds me of ‘The Virgin Suicides, in that it speaks of a time and a place that feels light years behind us, and one that might be too late to confront this Summer that almost blew the town off of the proverbial map.
– Excellent soundtrack of summertime classic rock favorites. Are the tracks invasive from time to time in their deliveries? YES, but the catalog in full transcribes the exhilarating feeling to be a teenager and be alive again, with the world at your fingertips. Throw in some beautiful sky map transitional sequences to channel the spirit of Summer, and you have a one-two combo that easily immerses you back into the psychology of adolescence.
– Vibrant overall cinematography that channels the post-80’s style smoothly in presentation. In addition to the film feeling like one big love letter to VHS technology, where the hazy coloring filters and neon graphics marry in a union of outdated bliss, there’s an overall presence of fog that fills the air, speaking volumes to the drug trade that the boys are thoroughly embedded in. Because of this, the colors are able to pop out even more and seduce you in a way that very few time period films correctly capture anymore.
– The performances are mostly satisfying enough, particularly that of the male and female leads. This is Chalamet’s second coming of age film set during the summer, but one he differs with greatly because of the nuance in control he exudes over the boredom and awkwardness that comes with being a teenager on the brink of Summer. Monroe as well is vivacious and seductive, even if the mumbling, bumbling dialogue does her zero favors. The two don’t have the strongest of chemistry connections, but they make up for it personality radiance that captures completely two of the biggest rising stars in the Hollywood landscape.
– Because much of the meat in this story is derivative from other films that did it better, the weight of consequences are every bit as timely as they are predictable. Once you know the set-up in the dynamics of relationships and coincidence, you can easily navigate through where this story is headed. It’s disappointing that a film this similar to other coming-of-age narratives of the subgenre doesn’t project anything of originality to stretch its lasting power. In fact, I have already forgot so much of this movie, and I watched it less than an hour before writing this.
– So much of the supporting cast is greatly underutilized. I point to a subplot involving Hunter’s girlfriend (Played by Maia Mitchell), where this girl is virtually glossed over as nothing more than an afterthought to the weight of this story. For someone with the greatest tie to arguably the most important character of the movie, the film reduces her to nothing more than eye candy, leaving an air of regret for this actress who will undoubtedly be one of the biggest surprises of 2018. Beyond this, film veterans like Thomas Jane and William Fichtner are entirely wasted in terms of what they provide this movie. Fichtner is only in one scene in the film, and Jane’s presence is completely omitted from the very aspect of tension that goes noticeably missing when it’s required the most.
– In addition to what I just said, certain scenes feel like they’re missing from the third act developments. Particularly with Jane’s police character, he seems to have figured out that these two characters are selling drugs without us ever witnessing his air of discovery. Two other characters in Daniel’s Mother and Aunt go missing all together after their introductions. Also, another inevitable confrontation finally happens only two scenes after it seemed smoothed out and repressed. How did things get so bad so fast? Where is the missing pieces in between that relate to us what is coming?
– For my money, the second half of this film was nowhere near as entertaining as the first. Snail’s pacing comes as a result of too many musical montages, and the unearned dramatic pull from forced confrontations ,that I mentioned above, are never remotely satisfying because of the lack of build and time donated to them. The film just kind of ends on speculation instead of certainty, providing the most frustrating aspect to donating nearly two hours to this story and characters.
– Bynum as a director feels promising enough with his edginess in style, especially for a first time director, but in also writing the script he may have worn himself too thin. It pains me to label a movie all style and no substance, but ‘Hot Summer Nights’ is the definition of that phrase because it lacks the kind of sizzle from the steak to ever live up to such a promising title. A plot is the first step to your audience indulging or not in a movie, but beyond that surface level, nothing ever continues to build on the suspense, leaving a thirst for a direction that feels tone deaf from the get-go