And while it seems like it’s the darkest subject matter for a teenage comedy to involve such a plethora of prescription medication, the filmmakers don’t handle this lightly at all, as Charlie’s actions do involve consequences; yet the tone of the film is far sunnier and more approachable than the superior yet icy Wes Anderson film, Rushmore. With a strong homage to Harold and Maude throughout as Cat Steven’s “If You Want to Sing Out, Sing Out,” is utilized numerous times to great effect, Bartlett seems to be the latest Generation Y incarnation of Matthew Broderick’s Ferris Bueller. You just know he’d never do anything to actually endanger a fellow human being, instead realizing that — much like his clueless friends — he’s lost the unattainable map directing them on their path from adolescence to adulthood as they struggle to find their way.
And while Charlie Bartlett's final act seems a bit rushed and far-fetched, the intelligence of the writing and the refreshingly earnest and sweet natured approach to the otherwise tired and overpopulated genre of crass, highly sexualized and cynical teen films, not only reminded me of a junior companion piece to Lawrence Kasdan’s Capraesque Mumford (also starring Hope Davis) but also earned Charlie Bartlett a spot at the head of the class of 2008 as this reviewer’s pet.
.jpg?t=20120527181101)
Article comments