Boy A

BOY A also gets RIGHT up in your face...literally. This engrossing film treats you to a wide array of emotions and forces you to come to grips with some very serious and highly complex issues....

How should society handle a murder when its perpetrators are only 11 or 12 years old???

One of my most cherished and appreciated qualities in any film is just how intensely issues and images from the film continue to ricochet around in your brain... and how prolonged that process ends up being! Primarily based on these key factors, BOY A gets a resounding 10 Stars!

What is hardest for me to comprehend, in relation to this film is, that despite having dominated the BAFTA awards not all that many years back and showing an impressive 7.7 IMDb rating, it seems a sure bet that it has found a relatively limited U. S. audience! Soembody please explain that to me..."like I were a six-year-old!"

BOY A is hard to watch without tearing up at some moments...... Yet, I am convinced that Director John Crowley never strived to that end, it is just that the subject matter is such that it provides quite a number of emotional gut punches!

Owing to Andrew Garfield's recent turn as SPIDERMAN, hearing his name probably would not illicit a knee-jerk, "Wow! What a great dramatic actor!" But here, in a role relatively near the beginning of his on screen career, his portrayal of a 24 year old who is rereleased into society after being institutionalized For half of his life is deliciously nuanced and astoundingly impacting!

It's really hard to find anything NOT to like with this British masterpiece!

ENJOY! / DISFRUTELA!

Any comments, questions or observations, in English o en Español, are most welcome!

This is a real gift. It's a gift in the times when Hollywood bombing us with an enormous amount of bad movies,and it's a gift of acting, specially the acting of Andrew Garfield. IMHO,the movie absolutely deserved every award and nomination. So,I give nine stars,not because we have another classic, but because it shows to Hollywood how to make a good movie.

P.S.

It is not necessary to write a bible about this movie. To much talking about a plot will make it less interesting for the spectator and that no one wants.

The Christian author Lewis B. Smedes once said that, "to forgive is to set a prisoner free and discover that the prisoner was you." John Crowley's Boy A is a powerfully gripping film about what happens when we fail to forgive ourselves for wrongdoing and give society the opening to move in and assuage our guilt. Jack Burridge (Andrew Garfield) has been released from prison after serving fourteen years for a murder that he helped commit when he was ten years old, but the struggle to recover his life has just begun.

Adapted by Mark O'Rowe from the novel by Jonathan Trigell, the story is a reminder of the notorious 1993 Jamie Bulger case when two ten-year-olds were convicted of murdering Jamie Bulger, aged two, although Trigell says that his inspiration for the book was a friend of his who served prison time as a juvenile and turned into "a lovely lad." In the Bulger case, the British media portrayed the two boys as evil savages, ignoring circumstances that might have compelled them to commit the act. Sadly, Jack's release is also trumpeted in the media with a scare headline about "evil coming of age" and a drawing of how he might look today.

Known at their trial only as Boy A and Boy B, both Jack (whose given name was Eric Wilson) and his friend Phillip (Taylor Doherty) were incarcerated for the brutal murder of a young female classmate, yet the full details of the crime including what may or may not have been Jack's role are never fully explained and the surrounding circumstances revealed only in sporadic flashbacks. We learn that both boys had a childhood of poverty and neglect. Eric had an alcoholic father and a mother stricken with cancer and Philip was sexually abused by an older brother, yet Crowley never uses their circumstances to justify their crime.

The film opens with Jack being assisted by his counselor, his uncle Terry (Peter Mullan), on his release from prison. Terry gives him a present of a pair of "Escape" brand sneakers and helps him to find a new job at a delivery service and obtain living accommodations with Kelly (Siobhan Finneran), a kindly woman who agrees to house him temporarily. As a cover, he tells his new boss and co-worker Chris (Shaun Evans) that he did three stints in prison for stealing cars when he was much younger. Jack makes a positive adjustment at work and falls for office secretary Michelle (Katie Lyons), known affectionately by her mates as 'The White Whale". Their relationship at first is awkward, especially when Jack is given Ecstasy at an office party and lets loose in a wild, spasmodic dance, and later, engages in a violent brawl while coming to the aid of a friend.

Slowly Jack and Michelle find much in common and one of the loveliest scenes in the film is when they snap photos of each others while taking a bath together. As Jack begins to get his life together, he remains fully aware of the need to guard his secret and his anxiety that others will discover it is always evident. All the while, Jack is supported by Terry, and when the boy rescues the victim of a car accident to become a local hero, Terry calls him his "most successful achievement." Things get complicated, however, when Terry's estranged son (James Young) comes to live with him and begins to show resentment about his father's closeness to Jack. Eventually this entanglement will be the trigger for the realization of Jack's (and our) deepest fears.

Boy A is a compassionate and disturbing film that won numerous BAFTA awards for acting, directing, editing, and cinematography, though it started out as a made for TV movie. As Jack, Andrew Garfield turns in a superb performance, allowing his face to reveal his vulnerability and his changing moods to reveal the tightrope on which he is walking. Though the film has moments of pathos, it is not without grace. We cling tenaciously to those moments of transcendence, sensing that they might be fleeting, but knowing that they will never be forgotten.

This movie hearkens back to the great working class British film dramas of the 1960s. Inspired, I believe, by an actual crime of about a decade ago, in which one child killed another child, the movie provocatively imagines the life of the killer many years afterward. At one point the protagonist is called a monster by a character who has never met him. I was reminded of the cover of a major news magazine at the time of the Columbine massacre, which featured a picture of the adolescent killers with the caption "monsters." I thought to myself that, however disturbed, these are still human beings more like than unlike the rest of us, and what does it say about the rest of us if we deny their humanity and refuse to look at the source of their disturbance? This is the very starting point of "Boy A" and the conclusions it reaches about "the rest of us" are bleak. This is a deeply, disturbingly sad movie. I found it intensely involving, and intensely moving. However, if you watch it, be prepared for a vision of humanity so dark that the most humane character in the story is a murderer.

Few films wowed audiences at the 2008 Tribeca Film Festival as much as John Crowley's "Boy A." Scipted by Mark O'Rowe from a Jonathan Trigell novel, "Boy A" is a story-driven mystery which is carried on the shoulders of newcomer Andrew Garfield, in a tour de force performance that dominates the film from opening title to closing credits.

Jack Burridge is leaving prison after a 14-year sentence for a crime he committed as a child. His mentor Terry has been working to gain his release and help him transition into the new world in which he'll live and work under a new identity. It's up to Jack to determine who he wants to be, but it's up to those around him to determine whether or not he will be allowed to do so. It's that challenge which is at the heart of "Boy A." Andrew Garfield ("Doctor Who," "Lions for Lambs") is frighteningly brilliant as Jack. It's his movie to make or break, and this role is sure to be singled out as the launching pad for what is destined to be a notable career. The viewer sees a sweet, sensitive, puppy dog of a young man while his secret past indicates something completely different. We wrestle with that concept as he does himself, and it's an emotional, moving piece of work. As his counselor Terry, Peter Mullan ("Trainspotting," "Children of Men") is the father figure who provides a foundation for Terry's wandering existence. His attempts to keep Jack alive and well are both heartening and heartbreaking.

"Boy A" is visually stunning. The interplay of light and shadow through the use of diffusion filters and silhouette gave me chills. The dramatic manipulation of white light is a seemingly simple device but cuts to the bone. Cinematographer Rob Hardy demonstrates true artistry with camera-work that is often a character in itself. A recurring visual theme using tunnels, alleyways, hallways, and bridges stands out even to the untrained eye. Paddy Cunneen's score makes it clear that this is, at its heart, a tale of intrigue.

Told in flashback, the secrets of "Boy A" are revealed in bits and pieces. The reality of who Jack is becomes more powerful and painful as the film progresses. Garfield is so charismatic, and his Jack so incredibly sympathetic, that this film easily rises to the top of those screened at this year's festival. John Crowley's "Boy A" is a master class in the art of film-making.