Welcome to Burlington, Ontario, in the early 2000s. It’s here that we meet Lawrence Kweller, our video-store-dwelling, movie-obsessed 17-year-old protagonist. Written and directed by Chandler Levack, I Like Movies takes us into Lawrence’s world and the coming-of-age journey he embarks on. With a leading performance by Isaiah Lehtinen, the film offers an authentic look at teen life through Lawrence’s eyes.
Lawrence practically lives at the local rental shop, Sequels, where he longs to work. There, between sweeping up popcorn and restocking shelves, he talks movies with passion. He name-drops directors like PTA and references deep cuts you’d expect only the biggest cinephiles to know.
But beneath the bravado, Lawrence struggles with real challenges too. He recently lost his father and now lives with just his mother. Navigating friendships and school without his dad’s guidance hasn’t been easy.
Levack transports us back to that nostalgic period, giving the world a tangible feel. We really feel like we’re alongside Lawrence experiencing his senior year. Through it all, he holds onto movies as an escape and way to connect.
I Like Movies shows the heart behind the superficial arrogance. It’s a sharply observant coming-of-age story that feels both familiar yet uniquely told through its character’s eyes. So pull up a seat, grab some popcorn, and come along on Lawrence’s cinematic journey of self-discovery in small-town Ontario.
Getting to Know Lawrence
Lawrence Kweller lies at the heart of this story. He’s a cinephile through and through, speaking of films with an encyclopedia’s knowledge of directors and deep cuts. Movies are his great passion—and escape from reality. See, Lawrence has suffered loss too. A few years back, he lost his father to suicide. Since then, it’s just been him and his mom.
That tragedy left scars. Lawrence uses movies to cover his hurt but also builds walls between himself and others. He’s prickly and prideful about his tastes, dismissing what mainstream audiences love. To peers, he must seem arrogant and unlikeable. And make no mistake, Lawrence does irritate. His ego gets the best of him, and he lacks self-awareness.
But it’s not so simple. Under the pretentious surface lies a kid still processing his grief. A kid desperate to prove himself. Lawrence clings tightly to the future he envisions, sure it will heal his past. If he can just make it into that top film program, his life will start. The anxiety and fear inside are easier ignored when debating movie merits.
It’s there that Isaiah Lehtinen brings such nuance. He encapsulates teenage anger in all its messy contradictions. Lawrence both infuriates and tugs at our heartstrings. We see fragments of ourselves at that age. That awkward phase when we hid weakness with bravado. Lehtinen anchors the film with a captivating, lived-in performance that makes Lawrence a character to care for, not just dismiss. He keeps us watching Lawrence’s journey, flaws and all.
Lehtinen immerses us right in Lawrence’s skin. Through his eyes, we feel the joys and solaces of cinema. But also the loneliness, regrets, and lingering wounds he nurses inside. By the film’s end, Lawrence feels profoundly real—not just some haughty caricature. It’s a special accomplishment that could only stem from Lehtinen’s extraordinary talent.
Alana and the Expanding World of Lawrence
Of course, Lawrence doesn’t exist alone in this film. He interacts with others who influence his journey. One key player is Alana, his manager at Sequels. At first, the two butt heads. Alana finds Lawrence exhausting with his endless movie rants. But as she learns his backstory, her tune shifts. She grows to care for the lonely teen, even if he drives her mad.
Romina D’Ugo delivers Alana with grace and wit. She makes a character that could easily be one-note into a vibrant, complex woman. Alana finds touches of herself in stubborn Lawrence. You feel their chemistry, the layers between respect and irritation. D’Ugo owns every scene, expressing Alana’s dry humor and hidden compassion. She truly steals the show in a performance that will pull you further into this world.
Another role that rounds out Lawrence is his friend Matt, played by Percy Hynes White. Where Lawrence is all fronts, Matt hides inner turmoil. Through the two, we see lonely youth seeking solace in shared hobbies. Their chemistry feels authentic, down to the bittersweet end of teenage friendships when lives take separate turns. White excels at the nuanced complexity of Matt.
In all, the cast brings heart and truth to characters that could easily traffic in tropes. From Krista Bridges as Lawrence’s caring mother to every small role, Chandlers Levack draws honest, lived-in work. The whole elevates a story that could have come across as melodrama into a resonant portrayal of navigating life’s challenges.
Stepping Back in Time
Say what you will about Lawrence, but the kid knows his movies. And through his eyes, we’re transported right alongside him. Writer-director Chandler Levack soaked this story in specifics of its early 2000s Ontario setting.
Subtle fashion references like trucker hats and low-rise jeans immediately situate us. But it’s the constantly rotating titles wafting from Sequels’ shelves that really dial us in. We feel tethered to Lawrence’s world by the ebb and flow of new releases.
Of course, the video store itself pulsates at the film’s core. Behind the counter or scouring aisles, we’re right there in faded glory with Lawrence. I swear I can smell the stale popcorn clinging to carpets that now hold streaming boxes where VHS once lined shelves.
These layered details reconstruct teenage life with pinpoint precision. But they serve a deeper purpose—transporting those who came of age in similar eras. We reminisce through Lawrence’s eyes, finding shared solace amid relics of a bygone era.
Nostalgia draws us in, yes, but Lawrence’s unfolding becomes profoundly personal too. His high school halls echo with our own anxieties and hopes. We all had some variation of Lawrence within—hiding behind bravado to escape what frightened us most. And so his journey resonates with raw authenticity.
Levack gifts us an achingly accurate time capsule through which to view Lawrence and ourselves. Subtly, amid pop references, she spins gold from experiences many could call their own.
Portraits of Growth
Chandler Levack wields her camera with impressive subtlety. On scant resources, she forges enchanting cinema. Never does I Like Movies feel limited. Instead, it glows with intimacy.
Her natural eye frames Burlington in nostalgia a few blockbusters risk. With scarce fuss, Levack lets moments unfold—a soda stocker’s turn revealing character. Her script, too, moves fluidly. Complex characters emerge without signposting.
Most striking is Levack’s empathy. In Lawrence she found a prickly yet universal figure. His flaws feel specific yet relatable, as any teen’s struggles did at some point. And through Lawrence, darker themes surface—trauma, responsibilities, and passions in conflict.
Levack explores these ideas tenderly. She honors messiness, knowing life offers few easy fixes. Her wisdom feels too keen for one so young. Yet growing requires facing life’s hard lessons. And through art, perhaps we can better learn from others’ journeys.
I Like Movies never preaches. It simply depicts one teenager’s portrait, inviting us to apply shades from our own experiences. In subtlety lies profundity. By inducing reflection, Levack crafts her most impactful statement—that steadily, by understanding each other, human beings develop.
Ripples from a Debut
Chandler Levack’s first feature left waves others still ride today. I Like Movies was far from a perfect film, but its heart proved powerful. Audiences related to its characters, to Lawrence’s story of growing into yourself. Critics praised Levack’s deft, empathetic hand.
Awards quickly followed. The film took Spirit to Santa Barbara, validating Levack’s vision. More nominations arrived, framing I Like Movies as an indie darling. It marked both creator and star for bright futures.
Levack has since written scripts purchased by studios. Lehtinen now acts in prestige dramas. Their debut spawned success by prioritizing authenticity over flash. It endures because we see ourselves in Lawrence’s journey, not just 2002 nostalgia.
When streaming shelves hold videos we rented in youth, I Like Movies reflects back like an old friend. Its impact comes from feeling lived in, not larger than life. Lavack crafted more than just a movie; she bottled feelings universal to her generation. She proved humble stories bearing deep truths can still move mountains. For that, her first film’s ripples will stay felt for ages to come.
Final Thoughts on a Budding Talent’s Debut
So in the end, what’s the big takeaway from I Like Movies? Well, despite some flaws, it proves itself a memorable glimpse into the formative high school years. With heart, humor, and wisdom well beyond its scale, it resonates long after the final scene.
True, the plot may not break new ground. But the performances, especially a star-making turn by Lehtinen, elevate this above expected. Lawrence ensures we truly feel this crucial stage of self-discovery. And under Levack’s eye, the story comes to life with a you’re there authenticity.
More than anything, I Like Movies reminds me that empathetic storytelling can come from anywhere. With passion and talent alone, great art emerges. Levack crafted a rich world that lingers in memory like an old friend. She clearly had more to show the world.
So in the end, give this gem some time. Look past budget flaws to find a profound understanding of the human experiences we all share. And know Levack remains an indie talent to watch, with bright future works sure to stay remembered as fondly as Lawrence himself.
The Review
I Like Movies
While not perfectly executed, I Like Movies succeeds resoundingly where it matters most—in its authentic characters and their resonant journeys of self-discovery. Anchored by a star-making performance from Lehtinen under Levack's empathetic direction, this low-budget indie emerges as that rarest of gems: a small film with a big heart that lingers long after.
PROS
- Authentic characters and grounded portrayals of adolescence
- Outstanding lead performance by Isaiah Lehtinen
- Evocative sense of time and place through detailed production
- Empathetic script and direction from Chandler Levack
- Heartfelt coming-of-age themes explored with nuance
CONS
- The plot follows some predictable beats.
- Third-act resolution takes an easy route
- Occasional tonal inconsistencies
- Low budget limitations occasionally apparent
