Movie review: Everyday moments of 'Boyhood' ring true

“Boyhood,” which almost won Best Picture at the Academy Awards, was produced over 12 years, utilizing the same actors for the duration. But director Richard Linklater is not for gimmicks; he is one of moments.

Linklater, whose previous works include “Dazed and Confused,” “Slacker,” and “Before Sunrise,” is fascinated with time in “Boyhood” — specifically, the defining moments of the characters’ lives. Big or small, remembered or not, Linklater realizes all of these moments with a sensitivity that is often rare these days.

“Boyhood” is the story of Mason (newcomer Ellar Coltrane) and his transition from boyhood to manhood, and to an extent the story of his sister, Lorelei Linklater, played by the director’s daughter.

Patricia Arquette, in an Academy Award-winning performance, plays Mason’s single mother. The decision to film the movie over the course of many years is a gimmick, but it is without a doubt a gimmick in service of the themes the film imparts and not vice versa.

The acting, as with all Linklater’s films, is one of the strongest elements. Viewers see Coltrane’s physical change, and it is powerful not only for the audience but for the relationships of the actors.

Ethan Hawke gives a wonderfully nuanced performance as an unreliable dad who turns out to be more than he seems, and his fictional daughter holds her own against far older and experienced actors. In particular, a scene in which Hawke introduces his new girlfriend to his daughter is especially poignant and generally rings of a knowing authenticity.

This scrutinizing yet kind look at everyday life is one of Linklater’s strong suits. He portrays the true significance of events as it feels to the characters and not as a more objective viewer would see them. The audience experiences the shame of a boy’s first day at school with a newly shaved head.

Linklater shows his frustration, vainly trying to explain the importance of a new (at the time of shooting) “Star Wars” video game. Dates and times, although not significant to Mason’s story, add a definite sense of place and atmosphere. A scene in which Mason and his father, an outspoken liberal in Texas, pulls up and steals “McCain for President 2008” posters from lawns only to replace them with “Obama for President 2008” signs, comes to mind.

It would be remiss to ignore the soundtrack, which, while helping us along chronologically, also displays Linklater’s deep nostalgia for classic rock. The choice to mix influences pays off.

Actually, all of Linklater’s efforts pay off. “Boyhood” is the complete expression of his style; he masterfully converts the moments and insight of his earlier films, many of which take the form of a tight tale covering a single day. Linklater fans will also not be disappointed, however, as many of his signature images, such as the long-take, two-shot dialogue scenes that never climax where you think they will, are all here. The writing by Linklater is all unparalleled, with the exception of a few awkward monologues.

Ultimately, “Boyhood” is Mason’s story, but the unique way it presents the formative years of life that are a near universal theme is a triumph on the part of Linklater, Hawke and all those involved — a perfect match of creative team and concept.

Nathan Reynolds is a reporter for the Daily Lobo. He can be reached at culture@dailylobo.com or on Twitter @DailyLobo.