riesel72 Reviewers keep complaining about the drug use, sex, and irresponsible parents. Umm, that HAPPENS. In real life. More than you realize. I found the acting very well done, yet, the characters, or writing, was... uneven. On one hand, neither the characters nor the plot goes in any direction you think it is going, which most viewers tend to love. However, the setups, swerves and everything we learn is all for nothing, since.. neither the characters nor the plot goes in any direction even hinted at. Characters can spend the first 2/3 of the film complaining about the same thing (adults pushing what they want instead of what the teen wants), make multiple huge dramatic deals about it, then inexplicably change mind to agree with them, from no motivation whatsoever. There are also a couple subtle hints concerning one particular relationship, but everything else heard and done contradicts what happens or what we assume is happening. I really liked most of this film, and WANTED to like the rest but maybe it tried too hard to defy our expectations without earning it or trying. {It would be like watching a film about an interesting Christian Kansas farmer who takes classes in law school then decides to become an Atheist surfer with no reason for any of those out of nowhere decisions other than "just because the character decides to out of the blue".} Instead of "surprising" by being different, it was confusingly frustrating to watch this pointless journey. Still not sure if that's a good thing or bad thing in this mostly unoriginal Hollywood blockbuster era.

bob_meg I haven't been this disappointed by a film in a while.10,000 Saints has a lot of problems but no action or plot movement isn't among them. The film's core message, while it won't blow your doors off, does have some substance to it. The problem lies primarily with the three young actors who are left to prop up the movie --- Butterfield, Steinfeld, and Hirsch.Of the three, I've only been semi-impressed with Hirsch's work. Steinfeld and Butterfield flail madly (though in oddly inexpressive ways) trying to unsuccessfully ape more talented actors (Steinfeld - Natalie Portman, Butterfield --- too numerous to mention).It doesn't help that the screenwriters (who are quite engaging writers usually) give them a hackneyed cross between an after-school special and a lifetime movie in terms of story development.This movie's most intriguing messages lie under the plot and in the emotional depth of field of its characters --- what they're NOT saying and doing, since they're all dealing with intolerable situations set-up by their miscreant "parents". But they have neither the tools or road maps to find such jewels, so instead we get the usual floundering youth story (teen pregnancies, friendships betrayed, etc.). Hawke and Mortimer are okay but even the lack of energy finally drains them as it does us. If these pseudo "punks" are this boring now, imagine how quick they'll fade into suburbia as adults. Frightening.And of course, it's all bookended by a flashback monologue that makes you wonder exactly what the Butterfield character is even trying to tell us in terms of what this whole experience meant to him. It's all too nebulous and meaningless for anyone over 17 to care about.The soundtrack is decent, other than that it's an absolute misfire.

Amari-Sali OverviewWith the death of one boy comes a baby and many lives changed forever, and this film is about the guilt which inspires many people's decisions over the course of 9 months. Characters & StoryOn New Year's Eve in 1987, two children's lives changed forever. Teddy (Avan Jogia) died, and Jude (Asa Butterfield) and Eliza (Hailee Steinfeld) have to live with the guilt and consequences of that night. Which isn't solely them both playing a role in his death, with Eliza giving him coke and Jude having him huff Freon, among other things, but the fact he left a baby in Eliza's belly. Thus being the main plot of the film. One dealing with everyone's guilt over what they did or didn't do for Teddy; what they didn't do for their own children; and everyone trying to use that baby as some means of redemption. All the while, Jude tries to mend things with his father Les (Ethan Hawke), and Johnny (Emile Hirsch) tries to be there for Teddy's and perhaps convince himself he is something he isn't.PraisePerhaps the beauty of this film is that as much as it has the opportunity to be over the top, considering it features drug users, upper middle class New Yorkers, and a small town in Vermont, it is rather tame. Granted, watching Jude and Teddy do drugs like they did seemed strange, but only because it really did seem like, at first, the film was going to be about two high school guys trying to get laid, do drugs, and slack off into finals.However, with the death of Teddy comes a slight shock to the system, alongside Eliza being pregnant. And while there aren't any strong emotional moments, in terms of Eliza contemplating an abortion, or seeing Jude and his dad bond, at the same time every moment feels quite satisfying. For, overall, it has the feel of a television program. One which, if ABC Family actually ever planned for their shows to end, would fit just right on the channel. I mean, they would probably have to tone down, or eliminate, the drug use, but otherwise 10000 Saints would have been a good miniseries. CriticismAnd the reason I say the movie would have been a good mini-series is because it drops the ball on so many story lines. For one, despite Les pretty much abandoning Jude and his sister Prudence (Nadia Alexander), pretty much only Jude gets any quality time with his dad. Thus leaving Prudence without her own time to address how she felt about her dad leaving, much less taking up all this time with Jude and not even calling her. Alongside that, while Teddy's death is a well- established turning point, it is weird we never hear what happened to his mom after the funeral. Much less, it is sort of weird that when Johnny, Teddy's brother, learns that Eliza and Teddy played a role in his brother's death, his whole "namaste" way of being completely leads to not a bit of ill will against either of them.Though the ball being dropped doesn't end there. There is also the topic of Jude being adopted, and him never looking for his parents, despite Les letting him know they are somewhere in New York, and the film having a scene in the hospital where he is born; us not getting to know Ravi, Teddy's dad, who wants to possibly adopt Eliza's baby, to make up for not being in Teddy's life; and there are a slew of other stories which really make it seem that this movie had more ideas than it had time, or committed effort.Overall: TV ViewingWhile what is given by 10000 Saints is adequate, all the story lines which never are given any focus sort of handicap the film. For while Steinfeld and Butterfield do keep your attention, with Hawke and Hirsch helping, there are times when it seems there are roads not traveled that certainly should have been. Especially the one dealing with Jude being adopted for with Eliza so unsure of what she may do with her baby, it seemed like Jude's discovery of his own parents could have made Eliza's ultimate decision a bit more meaningful. Alas, many interesting story lines, like that one, are just talked about and not explored, and that is the main reason for this being labeled TV Viewing. The teases are all just to great, and what is ultimately delivered just doesn't compare to the many possibilities you get presented with, or the odd things in the movie which get ignored.

David Ferguson Greetings again from the darkness. Sex, Drugs, and Rock 'n Roll – not just a bumper sticker, but also frequent and fun movie topics. Throw in 1980's New York City, some excruciatingly dysfunctional parenting, and the coming-of-age struggles of three youngsters, and you have the latest from co-writers and co-directors Shari Springer Berman and Robert Pulcini (the real life couple behind American Splendor, 2003).Based on the novel from Eleanor Henderson, it's a nostalgic trip with little of the positive connotations usually associated with that term. The surprisingly deep cast features Ethan Hawke and Julianne Nicholson (August: Osage County, 2013) as parents to son Jude played by Asa Butterfield (Hugo, 2011). Emily Mortimer plays Hawke's new girlfriend and mother to Eliza played by Hailee Steinfeld (True Grit, 2010). Avan Jogia plays Jude's best friend Teddy, and Emile Hirsch is Teddy's big brother Johnny. It's an unusually high number of flawed characters who come together in a story that features some familiar coming-of-age moments, yet still manages to keep our interest.The story centers on Jude as he comes to terms with finding out he's adopted, works to overcome his less than stellar parents, and spends an inordinate amount of time finding new ways to experiment with drugs. One night changes everything as it leads to a tragic end for one character and pregnancy for Eliza. Ms. Steinfeld is extraordinary as Eliza and really makes an impressive step from child actress to young adult. Julianne Nicholson is also a standout, and Ethan Hawke provides some offbeat comic relief.So many elements of 1980's New York are included, and no effort is made to add any touches of glamour. The Tompkins Square park riots also play a role, if only briefly as the key characters realize life is just not so simple … a consistent theme for both kids and parents. The fragility of life is always an interesting topic, and the filmmakers bring this to light through some characters that we feel like we know – and wish we could help.