Roger Ebert's treasured rating only adds to this coming-of-age movie's significant legacy.
The Big Picture Few films of the past twenty years have nailed the delicate balance of realism and melodrama that comes with the coming-of-age genre so perfectly as 2013's The Spectacular Now. The late great Roger Ebert acknowledged as such in his review of the film, awarding it his famous and highest rating of four stars, making it the last film to receive such an honor from arguably the most influential film critic of the past fifty years.
It's utterly refreshing that a coming-of-age film that came out in the throes of the YA book adaptation renaissance avoids all the trappings that have since plagued most of the movies that tackle similar themes. While films like Lady Bird, Mid90s, and 20th Century Women, all of which came out several years later would introduce indie film sensibilities to the coming-of-age genre, The Spectacular Now paved the way for a more thoughtful approach to depicting the travails of growing up.
Roger Ebert Saw the Greatness in 'The Spectacular Now' Roger Ebert began his The Spectacular Now review with his signature style of getting straight to the point, emphasizing what made this film a movie worth writing about in comparison to other films. This was a great talent of Ebert, who wrote about every film as if it was the film to write about, whether what he had to say was positive or negative.
What Roger Ebert saw in The Spectacular Now was undeniably its attention to details that matter and the way in which it takes seriously the very necessary and painful process of growing up. In the case of Sutter and Aimee, that process is extraordinarily painful, but the film does an excellent job of never exploiting their pain to induce sorrow or pity in the viewer. Sutter's plight is something that is unfortunately all too familiar for those of any age.
Roger Ebert Was Historically Harsh Toward Coming-of-Age Movies There is something very poetic about Ebert's last four-star review going to a coming-of-age film. Historically he wasn't nearly as enthusiastic about many classics in the genre as other critics and audience members. There are exceptions to the rule, such as The Graduate, American Graffiti, and Y tu mamá también, but these films in particular all had much more critical clout than the average John Hughes movie.
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