Boyhood is a milestone in cinematic achievement. Director Richard Linklater has captured the simple, unadulterated poetry of mundane life. The feature achieves the spectacular. It provokes you to feel, appreciate, reminisce, yearn, understand, accept. Within a period of 166 minutes be prepared to feel overwhelming nostalgia, aching melancholy, simple elation and an inherent satisfaction that it all happened. Thought-provoking beyond measure, the feature is a cinematic revelation, an allusive celebration of life and family. Boyhood is perhaps the most personal, accessible film ever to grace to the cinemas this decade, hell this century. Emotional extortion and dramatic orchestration of events is entirely forgone. Instead Linklater has shown a modern audience that real life is already full and extraordinary and noteworthy as it is. Boyhood provides reflection, insight and simple showcase of the completely ordinary growth of one young boy. We can only watch in awe as we are touched with the familiarity, accuracy and honesty of its portrayal.
As with most of Linklater's features, Boyhood is uncontrovertibly without plot. Instead, lives are lived, lessons are learned, hearts are broken, memories are created, forged, treasured, forgotten and nostalgia runs wild. We watch the steady, subtle, entirely natural progression of a young family and in particular Mason Evans, Jr (Ellar Coltrane). We witness the growth of one boy's skewed vision and the significant experiences of his young life which in collaborative magic produce a naïve yet ambitious and insightful young man.