Mile End Kicks is a heartfelt coming-of-age film set in Montreal, but it stumbles over familiar storytelling tropes.
Right from the start, the film embraces comparisons to Almost Famous. Early on, viewers spot a poster of the classic movie in a character’s room. Both films center on young writers from conservative backgrounds who dive into the vibrant world of music. Writer and director Chandler Levack draws from her own experiences, making this a personal tribute to the indie rock scene in Canada during the early 2010s. However, the film doesn’t seem to offer much fresh insight or perspective on the era it showcases.
Barbie Ferreira stars as Grace Pine, a music writer stuck in a dull job at an online magazine. Her boss, Jeff, played by Jay Baruchel, is a typical unsympathetic figure in the industry. Grace dreams of moving to Montreal, where she hopes to write about Alanis Morissette’s iconic album, Jagged Little Pill. During her time there, she becomes enamored with the band Bone Patrol and its members, Archie and Chevy. Grace’s struggle to balance her ambitions with her romantic entanglements adds complexity to the narrative.
Levack skillfully captures the lively atmosphere of Montreal’s small concert venues and the tricky dynamics of entertainment journalism. Many writers can relate to dealing with difficult editors and seeing their hard work disregarded. Grace’s journey as an artist resonates, especially her list of goals, like “falling in love,” which hints at her naïveté.
The film presents a realistic view of its characters. Chevy is emotionally distant, complicating his relationship with Grace. While he brings a mix of charm and unpredictability, it’s clear that their romance isn’t well thought out. Conversely, Archie emerges as the more sensitive choice for Grace, though his character arc is rather predictable.
One strength of Levack’s writing is her refusal to paint Grace as infallible. She makes all the mistakes young people often do: overcommitting and neglecting important relationships. However, Grace’s lack of preparation when she arrives in Montreal—like not speaking French and taking advantage of her roommate—makes it hard to feel for her. Even Ferreira’s performance doesn’t quite redeem Grace’s choices.
In today’s world of rapidly growing nostalgia, Mile End Kicks attempts to revisit its era but misses the mark. While the 1980s have received extensive retrospection, the reflections here feel shallow. The film may resonate with those who lived through this niche experience, but for others, it can feel like just another story of young adulthood lacking depth.
In an era where the music industry faces constant shifts, the significance of independent music has never been more relevant. According to a recent Statista survey, 43% of young people still favor independent artists, highlighting a hunger for authenticity similar to what Grace seeks in the film.
Ultimately, while Mile End Kicks offers a glimpse into the trials of aspiring artists, it may not reach the profound connection it aims for, leaving audiences craving more than just familiar beats of a well-known tune.
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Canada,Film Review,Homepage,Indie Music,Montreal
