Palo Alto

Don't come looking for plot - our teen years didn't have one either. Like Dazed and Confused before it, Palo Alto throws us into the joys, pains, and emotions of the life of American-suburban adolescence. Though unlike its defacto predecessor, Palo Alto takes a look at this world through a softer, more elegant, more personal lens. The film bounces us around from character to character, all high school students in the titled town. Reckless parties, desperate sexual encounters, jealousies, weed, breaking things, sexually aggressive teachers (James Franco) and, of course, homework. It's all part of the world of Palo Alto. There is no rhyme or reason. Or is there? James Franco (whose book of short stories the film is based on) plays Mr. B, the high school soccer coach, tells his favorite player April that everything has a reason. Maybe he's right. You be the judge. Director Gia Coppola, in her first feature-length effort, works wonders at keeping the characters and the world of Palo Alto authentic. "Glee" exists in a land far, far away from here. Instead, we get an unfiltered look at what it takes to navigate the turbulence of adolescence and find our path to adulthood. It's a painful but beautiful thing.

So this is what it's like to be a teen in high school these days? So basically nothing has change?

Gia Coppola's 1st film has no plot. it's just 100mins of watching Teenagers be teenagers. If you find that interesting than go for it. It does capture the essence of being a teen quite well.

I never read the book it was based on, which was written by James Franco who also has a small role in the film. I know the book is just a collection of short stories which is what the movie feels like, just a collection of short stories.

I would not reject a film just because it had no plot, but I think I'm too far distant from the situation to be that interested in it. Closer to my experience was the movie Kids, which is a lot like this movie, but has a plot to it. I do think that the fact that Palo Alto has no plot makes it a much bolder movie.

This flick is more set up for those who can related to these specific characters, rather than semi-documenting the life of teens. So while I recognize myself in some of the kids and recognize other kids I knew growing up in some of the kids, it was not enough for me.

I think Gia's aunt Sofia is better at that, but she is the more experience film maker and it might take Gia a few more tries to get there.

Gia Coppola's Palo Alto feels like a film of Larry Clark's set in a wealthier neighborhood that wants to show that the kind of crime and moral vacuousness that exist in certain impoverished, but the issue at hand is that the film doesn't seem to want to fully commit. While by no means mediocre or not worth seeing, Palo Alto finds itself in the quandary of not always finding a clear balance between its subjects, cycling back and forth, optimistically trying to devote equal time to each characters, but sort of getting lost in a sea of transitions. Even the ending, when it should be finding a way to tie these stories together, it only seems to try to rush and wrap them up in a clean manner without giving us much in the way of connective tissue.

Yet, with that being Palo Alto's biggest issue, I think I can go on happily. The film finds a new concept to explore other than teenage nihilism and debauchery, but the idea that just because teenagers or youths reside in a wealthy community doesn't mean they have lives as vividly-planned out as some may assume. Wealth doesn't equal direction, or even morality, is what I took from the film, and just because the idea of money at ones disposal is instilled at a young age, a clear pathway to success isn't. To build off of the famous saying "the grass isn't always greener on the other side," the grass explored in Palo Alto is the kind hyped to be beautiful because of new lawn-care application but winds up showing a few dry patches and weeds.

The film follows a gaggle of characters living in the wealthy, upper class community of Palo Alto, California, and centers on the day-to- day lives of listless and directionless high school kids. One of the characters we find is April (Emma Roberts), a shy virgin, who finds herself torn between her flirtatious soccer coach Mr. B (James Franco) and a deceptively deep stoner named Teddy (Jack Kilmer). Another soul is Emily (Zoe Levin), a sexually promiscuous girl of the same age, who has sex with both Teddy and his close friend Fred (Nat Wolff), an unpredictable time-bomb of a teenager. The film follows April's relationship with the two key men in her life along with Fred's descent into complete chaos and madness, as well as following numerous high school parties around the neighborhood.

The directress at hand, Gia Coppola, another member of the Coppola dynasty headlined by patriarch Francis Ford, actually shares a lot of the thematic similarities as her filmmaker aunt, Sofia Coppola. Sofia, for years, has made films with the overarching theme of wealth, fame, and alienation, focusing on characters, predominately female, growing up in extremely well-off parts of the world but having unfulfilled tendencies that money cannot buy. This is arguably related to her father being one of the most famous and renowned directors of his time, and a family that found ways to make news in Hollywood, one of the most known cities in the world. This kind of ubiquity and outside hunger for the next big thing from the family like prompted Sofia to frequently feel alone, which lead to films like Somewhere, Marie Antoinette, The Bling Ring, and Lost in Translation, all of which about an outsider's (or outsiders) desire to fit into society.

Gia feels like she's elaborating on this idea by focusing on several teenagers, already tumultuous characters, bombarded by hormones and stimuli they have no idea how to respond to or control, and looking for the basic routes of human gratification through alcohol, sex, or meaningless shindigs. But what occurs when the buzz wears off, the clothes are put back on, and the parties die or are raided? In Palo Alto, many conversations between teenagers and their peers occur as, at the end of the day, a teen's companions are those that can resonate with them the most because of circumstantial similarities.

Such is explored to considerable effect in the film, as characters ramble and converse quite frequently, discussing everything from trivial sexual tendencies of people to the random stupidity teenagers often debate over. While Palo Alto may be messy and often scattershot in its ideas and pacing, it definitely portrays its characters effectively, often devoting time to the inane questions teenagers ask each other and their basic desires for reassurances and empathy. Because these kids come from wealthy areas but have no direction by their parents, one can perhaps call this an outlaw story in suburbia, as these kids are not gridlocked, or even partly- committed, to any particular future, leaving them about as wayward as the cowboy on the trail.

Palo Alto is a film of essences and details rather than long term significance, but such is the teenage way. One will likely remember certain features and events of the film, but find difficultly in defining a theme or an overarching idea grandiose enough to justify itself in a larger sense of time. I applaud it for its portrayal of a demographic I never tire of seeing on screen, and for not only including but emphasizing the random questions teenagers find themselves asking each other ("what would you do if you got in a drunk driving accident?") and their own moronic tendencies, like mixing tequila and vodka because it felt good in the moment.

Starring: Emma Roberts, James Franco, Jack Kilmer, Nat Wolff, and Zoe Levin. Directed by: Gia Coppola.

This film is about several suburban teenagers who live hedonistic lifestyles, and slowly their lives spirals out of control.

"Palo Alto" shows the teenagers getting up to all kinds of trouble, but there is not really a focused plot. We get shown various events that happen to various individuals, but it is all superficial and we don't get to see any real meanings behind their actions. The plot meanders but never seems to get anywhere, with no central message to get across. I thought it was as if I watched a bunch of events happening, and that was it. It did not leave me feeling satisfied, touched or entertained. In fact, I felt a little bored by it.

"If you were in olden times, what would you do?" Fred (Nat Wolff)

If the ennui and aimlessness of teens, as depicted in Palo Alto, represents the upper-middle class's decline, then we all may be in trouble. The above question is answered about the universal life of teens throughout modern times: Things will be no different, and maybe worse. Writer/Director Gia Coppola captures the disaffection and confusion of late high schoolers in an affluent suburb while she eschews the basics of good story telling, like meaningful conflict and resolution.

The coming-of-age tale of burb loneliness has been told since the 60's. Yet, with cell phones to text each other, maybe these emotional wanderers are more connected and purposeful than I thought. It's just that the story too well mirrors their purposefulness.

Palo Alto captures the lost world of drug and sex-addled seniors who indulge too much and suffer the expected consequences of excess and conscience. April (Emma Roberts) appears to be the only virgin in the crew, a soccer player having a hackneyed illicit affair with her coach, Mr. B. (James Franco) but seemingly unrequited love for sweet artist Teddy (Jack Kilmer).The others lost in a fog of weed and useless sex like Teddy and Fred wander in the night doped up and hungry for meaning.

And that's all, folks. Like the lost souls of the story, the film wanders among the strands of James Franco's short stories looking for a common thread to bind the characters more than the typical stoner discursiveness and the serious limitations of suburbia. Look for Aunt Sofia's Bling Ring to get a better feel for true teen angst, disaffection, and lawlessness.

The best I can say is that Coppola shows the familial gift of mesmerizing compositions and lighting, promising the great patriarch Frances's gift for powerful storytelling. Right now, Gia Coppola gets the kids right, nails the mood, and will get the story in a few years.