Ten Thousand Saints (2015)
★ / ★★★★
Based on the screenplay and directed by Shari Springer Berman and Robert Pulcini, “Ten Thousand Saints” is an ambitious drama about youth, friendship, family, New York City on the verge of change, and sacrifices that adults (and soon-to-be-adults) are willing to make for their children, but it is not a successful film because it fails to focus on and explore any one of the subjects it attempts to tackle. What results is a formless picture, bereft of compelling elements that are specific to the characters involved.
After a New Year’s Eve party in Vermont, Jude (Asa Butterfield) suggests that he and his best friend, Teddy (Avan Jogia), get high on freon—the former unaware that the latter had taken some cocaine at the party just a few minutes prior. They lose consciousness amidst the snow and the next morning, both of the boys’ bodies are found—Jude still alive but unable to move, Teddy dead for several hours. Jude’s father, Les (Ethan Hawke), who grows cannabis in NYC as a source of income, invites his son to live with him in the city for a chance to make a change, if Jude wanted, in his life. Soon enough, the surviving teenager meets up with Johnny (Emile Hirsch), Teddy’s elder brother, who lives his life as a Straight Edge—one who makes an active choice in avoiding all drugs, sex, and eating meat.
The picture is shot quite beautifully, highly convincing in showing us different lifestyles of people who do not have much money but are getting by. The interior of homes are so detailed, it is like visiting a real house with many years of memories. This is especially critical when people get into a disagreement or when secrets are revealed. The walls and decorations exude the feeling of becoming more alive over time—that the more experience family and friends go through together, the picture frames, furnitures, figurines, and other knickknacks become all the more embedded in the place of living’s DNA.
Significantly less convincing is the love shared between Jude and Eliza (Hailee Steinfeld), the daughter of the woman (Emily Mortimer) that Les is currently dating. Although the screenplay touches upon the different types of love between them, Jude’s feelings for her are never given a chance to come into focus. As a result, the protagonist is paper thin as a character but has a memorable physicality: bright blue eyes and a lanky frame. He is a quiet young man, but what does he stand for? Why is this specific story worth telling through his eyes? There is a lack of a defined perspective and insight here.
Another lost opportunity comes in the form of failing to delve into teen drug abuse. Although the material addresses the topic quite heavily during the first third, it is almost completely dropped about halfway through. Instead, we get to hear Jude tell another person he longer is into smoking marijuana—and that’s about it. This is inappropriate because he still feels guilty for being an instrument toward his friend’s untimely death. By sweeping the drug angle under the rug as if it were unimportant, the film loses about half of its staying power. The second half drags like nails along a chalkboard.
Based on the novel by Eleanor Henderson, “10,000 Saints” is also about rebellion, whether be in a suburb or a city, but there is a lack of convincing passion amongst its main players. What the film needs is rage and a punk-rock attitude to match its soundtrack in order to ignite the fire underneath the more melodramatic elements. Because it is missing this critical ingredient, the characters are unforgivingly dull, one-dimensional, and forgettable.