Oliver has two main goals: to lose his virginity to his girlfriend Jordana Bevan, and to prevent his parents from divorcing. Submarine 2010 1080p BluRay X264QN is a comedy-drama that follows the life of Oliver Tate, a quirky and intelligent teenager who lives in Swansea, Wales. What is Submarine 2010 1080p BluRay X264QN About? It stars Craig Roberts as Oliver Tate, Yasmin Paige as Jordana Bevan, Noah Taylor as Lloyd Tate, Sally Hawkins as Jill Tate, and Paddy Considine as Graham Purvis. It is directed by Richard Ayoade, who is also known for his roles in The IT Crowd and The Watch. Submarine 2010 1080p BluRay X264QN is based on the novel of the same name by Joe Dunthorne. This is a British indie film that tells the story of Oliver Tate, a 15-year-old boy who is trying to navigate his first love, his family troubles, and his own eccentricities. If you are looking for a movie that will make you laugh, cry, and think, you should watch Submarine 2010 1080p BluRay X264QN. A perfectly realised entry in the genre, Submarine more than earns its place alongside the handful of greats that came before it.Submarine 2010: A Quirky and Heartfelt Coming-of-Age Comedy in 1080p BluRay Quality Though the film has its fair share of quirk, is highly stylised and draws great attention to its period-piece-setting, it keeps those elements in check, and consistently secondary to its emotional core and ensemble of fully fleshed-out characters. From its unquestionably Godard-inspired opening credits, Bergman-esque repeated use of fading to red, and implied or explicit odes to Roeg’s Don’t Look Now, Dreyer’s The Passion Of Joan Of Arc, or Melville’s Le Cercle Rouge, Ayoade has peppered the film with auteurist references to those who clearly were an influence on him. However, Ayoade’s aesthetic choices as well as his many cinematic nods make the film a genuine treat for the cinephile set, but not to the extent of alienating those who may not grab the references to Bergman, Roeg, or the French New Wave. Though it boasts a sharp, beautifully written screenplay and stellar performances by the entire cast, the film doesn’t forge any new ground thematically. It’s a difficult balancing act further complicated by Jordana’s own familial crisis, and the film’s honest and direct approach in depicting the emotional limitations of a teen is a perspective that’s become something of a rarity in coming-of-age romances, which far too often pad their lead characters with a psychological complexity that doesn’t match their age. His newfound feelings of love and lust clash with the situation at home, which finds his parents’ (Sally Hawkins, Noah Taylor) lifeless but stable marriage threatened by a flash new-age guru (Paddy Considine) who moves in next door. A keenly observational type, Oliver keeps detailed mental notes of everything from the behavioral tics of his classmates to the frequency of his parents’ sexual union.Įntranced by the aloof and seemingly unapproachable Jordana Bevan (Yasmin Paige), a cynical pyromaniac in a pageboy haircut, Oliver sets out to win her heart, though she detests anything that even hints at romance. With Submarine, Richard Ayoade has created a coming-of-age film that ranks among the best, an even more impressive feat considering it is his first narrative feature film.īased on the novel of the same name by Welsh author Joe Dunthorne, Submarine’s greatest strength is its richly developed lead character Oliver Tate (Craig Roberts), an offbeat, imaginative and unreliable narrator who leads us on a journey through his own love and loss, as well as his concerted efforts to save his parents’ marriage. In the best of these films, it usually comes down to a strong central character – think of the young men featured in Gregory’s Girl, Harold And Maude, Rushmore, or even The 400 Blows, to name but a few. The challenge for filmmakers is how to present these in a way that, if not unique, is at least memorable or resonant. With the exception of teens in extreme situations (eg Carrie, Mysterious Skin) the varieties of experience in most coming-of-age films are usually limited to some combination of first love, social awkwardness, insecurity, rebellion and the hormonal effects of puberty. And just as it’s impossible for a novelist writing about those wonder years to avoid the inevitable comparison with The Catcher In The Rye, so filmmakers often suffer by comparison, though the “reminiscent of…” pool is a bit larger. That there’s no shortage of them isn’t as big a problem as the simple fact that there happen to be a fair number of great or at least highly memorable titles in the canon. The coming-of-age film is easily one of the riskiest genres in which a filmmaker can dabble.
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