"The Trip to Italy" Proves that Sometimes It's About the Destination & Not the Journey

UK actors Steve Coogan and Rob Brydon are in Italy eating their first meal of the trip. They're going on a Italian restaurant tour for The Observer, which they did four years previously in Northern England. Coogan talks about how he's surprised that The Observer wanted them to do this again, despite the good reviews of the first article they wrote about their previous trip. He notes that sequels are never as good as their predecessor, except for The Godfather: Part 2, which they both agree is the exception.

And so begins the sequel to the very meta, post-modern The Trip. The Trip to Italy features, again, Coogan and Brydon, playing themselves, albeit exaggerated and altered versions of themselves. The sequel is very much in the same spirit as the first. They travel to restaurants and hotels, eat food, and discuss life, celebrity, and the craft of acting. It's like My Dinner with Andre, but with discussions about the appreciation for Alanis Morissette and Michael Buble.

We see a little growth change in the characters since the last film. Coogan has decided that he he'd rather spend more time near his son and cancel work on his TV show to do so. Gaining fame and glory is no longer a priority. Brydon, on the other hand, who was the solid family man before, promises to be a more frisky tom cat this time around due to being out of the country where his notoriety is less distinct. It turns out that his relationship with his wife has turned cold since they've started raising their child. This sort of characterization is surprising and much needed, as they act as foils to each other, but the roles are reversed this time around.

The change of scenery is much need, too. It is absolutely beautiful. James Clarke, the cinematographer, framed and lit everything gorgeously, and to the often looked over but completely necessary location scout who picked the greatest beach locales in Italy. Not only did the setting prove to be breathtaking, but it played into the boys (I will call them "boys") conversation of artistry and death. The loose connection between all of the stops was Lord Bryon, whose debaucherous lifestyle is both admirable and cautionary. There are many motifs of the afterlife, causing the two to contemplate, causing obvious middle aged panic. A visit to the site of Pompeii not only signals a time of reflection, but results in Brydon doing his "Man in a Box" routine (and it's probably the most hilarious segment of the movie.)

The problem with The Trip to Italy is that these gags and scene go on way to long. Most of the movie is extended pop culture imitations that turn into a pissing contest between the two. They rehash their Michael Caine and their James Bond; it was all cute the first time, but this was redundant. I was bored for the first for the first half hour because it was just a repeat. They end up switching it up throughout the movie with some Robert Di Nero and Al Pacino, but I was fatigued by the end. I know that I can chalk it up to not being exactly my sense of humor, but these impersonation tirades are comparable two friends who won't let a good joke die.

The sequel was totally made for the big fans of the first, but it's a lost cause for those who opposed The Trip, or even those who kind of enjoyed the original. The spices are slightly different, but the dish is the same. It's a shame because there is an obvious self-awareness in this series. I just wish the creators could push that keen perception outwards and look through the audience's eyes. If only they followed Coogan's advice from the start and saw the folly in doing a followup.

"Boyhood" is an Epic, Slow Burning Look at Growing Up

While high school senior Mason (Ellar Coltrane) is developing his personal photographs in his high school's dark room, his photography teacher comes in and doesn't just tell him to get his ass back in class, but lectures Mason on the importance of responsibility, growing up, and passion. "Who do you want to be, Mason? What do you want to do?," he asks. When Mason says he wants to spend his life being a photographer, his teacher ultimately says that that's not gonna cut it.

Richard Linklater's Boyhood features many scenes like this. It makes sense, as the film is about growing up, and it may be the most extreme look at growth spurts, acne, personality change, and the apparent hypocrisy of adults. For those of you living under a rock, Boyhood took twelve years to make because the filmmakers got together every year to revisit Mason and his family. In the course of a little under three hours, we see Coltrane develop from a kid to a young man heading out to college. There are some recurring characters, but the four that we show up in every chapter is Mason; Mason's mom, Olivia (Paticia Arquette); Mason's sister, Samantha (Lorelei Linklater); and Mason Sr. (Ethan Hawke). Throughout the movie, Mason moves through various towns, gets readjusted through various schools while his parents (they're separated, by the way) change careers and relationships.  

The changes in the film are surprisingly drastic at time, and the editing in the film is clever and signifies the passing of time. Short hair becomes shaggy hair, and there is one humorous cut where it seems like Mason has doubled in height. It brings back memories of awkward phases, and while I didn't relate to Mason so much, I felt sentimental of the growing process.

The creators pepper in pop culture to help set the movie in the appropriate year that both makes me feel joyful of the being transported to that time, and also old. "Umbrella" is playing in the background while the characters are at a bowling alley; Mason and his friends debate as to whether Yoda or General Grievous would win in a fight; Samantha watches the latest Lady Gaga video on her phone. The use of these cues are smart, because when you get out of high school, years just seem to meld together, yet we have time stamps in our heads that help us find our footing in our memories.

I wish that some of this wit also translated more into the dialogue and characters. I say this with a grain of salt because what we're dealing with here is teenage boys, and let's face it, teenage boys are dumb. I know, I was one. I was also a gay teenage boy, so I can say that I was not guilty of a lot of the drivel that I heard in grade school and in Boyhood. I think that's some of the point. This "talking shit" discourse is sadly part of male adolescence. I'll blame society, but I won't be too preachy.

The acting is questionable at times, too (I'm looking at you, Patricia Arquette.) She talks like she has a question mark stuck in the back of her throat. It kind of works because Olivia is a character who doesn't know exactly what she wants, and when she thinks she has some clarity, it backfires in her face. She is the greatest example of adults that don't have all of the answers, which is one of the film's greatest themes.

Mason is also kind of a blank character. He's not a Harry Potter, who ultimately dictates the series of actions and reactions in his life. Mason, like most children, just has to stay steady like a rock while the parents control the realty around them, whether these are good or bad decisions. This may not result in an interesting character study for some, but I enjoy the creators' honesty in the portrayal. Mason is also very much an observer in the film. He doesn't say or do much for most of the film, but his growing interest in photography and his contemplative nature shown in his late teens is logical.

Boyhood does present an easy, smooth, and subtle transformation in the characters, which I applaud the creators in doing. It would be easy to present Mason as joyful kid, then an obnoxious tween, then a rebellious teen. The whole set up of the film may seem like a lot hype, but when you have the same actors playing the same character over many years, not only do you have an epic story, but you have truthful transitions. Many people, myself included, are the same person as when we were six, only more emotionally and intellectually knowledgeable, and it's hard to capture that fact when you have multiple actors playing the same characters.     

Boyhood isn't as successful as Linkleter's other time-shifting films, his Before trilogy, which were two magical romance stories and then an aversion to them. It has been advertised as being the greatest exhibit of growing up, but it's a little to ordinary to capture that title. That is not to say that Boyhood isn't important. In the most acute way, it's drawn from the Youtube videos of people taking a picture of themselves everyday for a fixed set of time. Boyhood satisfies our need for nostalgia and narcissism, and thanks to digital filming, may be the first in a new wave of coming-of-age presentation.