Griffin in Summer 2024

Griffin-in-Summer-2024
Griffin in Summer 2024

Because of the development in the American comedy industry, Griffin in Summer directed by Nicholas Colia comes as a refreshing change given the increase in stupidity in the sector. Nicholas Colia who is a director based in LA addresses rather important topics with an unhesitant approach by combining humor with serious points. Not only this, comedy throughout the film is delivered splendidly where gags and punchlines remain in Sync. In Griffin in Summer not only does Colia aim to incorporate sarcasm in the film, but he also aims to portray strong deep feelings.

Blunck, the director’s leading lady, does a fantastic job of portraying Griffin a 14-year-old aspiring playwright in Griffin where she casts Nicholas Colia and his wife. Griffin comes from a dull little town that isn’t too appealing to him or his friends. However, he dreams big and desperately wishes to go to New York when he turns twenty where he imagines being surrounded by a flourishing art culture, whilst he waits he has to deal with a below average basement to practice in. There is a gradual seasonal shift that builds up the drama.

Griffin is irritant to many people, in large part because, in his words, he is a smart ass. Things take a turn for the worse for him when he tries to enforce a 60 hour rehearsal over the summer which is too demanding considering it is an Equity standard. His actors would prefer to be fourteen during the summer and act like teenagers, not give performances. Not to be outdone, his director Kara (Abby Ryder Fortson) has also left him for a trip to her boyfriend’s family. Naturally, one would be inclined to dismiss it as some sort of conspiracy why are these buffoons unable to see the benefit in his work? 

Griffin meets Brad Teague (Owen Teague), a graphic designer who in his early twenties befriends based on a bizarre collaboration. Griffin’s mother Melanie Lynskey has retained him for handyman services during the summer. Griffin has trouble with Brad who interrupts him rudely, and while trying to evict Brad from the house for music blasting, the logic of art being born from a quiet body doesn’t apply. However the promise of hitting a Stoner and ‘all the time in the world’ was nearly impossible for Griffin to refrain from reaching his biceps.

In the movie Happiness, directed by Todd Solondz, Griffin has even more dramatic tendencies while taking advantage of older men by telling younger men that older men buy drinks for them. 

It is none other than Griffin who is astonished when Brad tells him that he is also a performance artist and spends loads of time in New York. All of them, it seems, have been waiting for him for eternity. But, as it often happens with a teenage girl during her infatuation, it turns out later that Brad is a simpleton, that is, an illogical brute from Griffin’s perspective and a rather arrogant one too.

This love plot revolves around the heartbreak of Griffin, but more importantly, the irony of his situation, which is arguably the central theme. What makes this tale amusing is the stark difference between Griffin’s romanticized, unrequited adoration of Brad, and the reality of his life: the absence of Brad even in broad outlines, to say nothing of the fine details. To Griffin’s utter dismay, he couldn’t help but self-proclaim himself an artist. Brad’s horrendous live stage shows were enough to raise his idolized concept of the Yeti’s portrayal of ‘his angel behind the fence’. It never crossed his mind that mauling the hell out of him could be justified by a guy with an utterly hot younger brother: as in getting Kathryn Newton to stop trying to make out with one’s silly (in a great way) girlfriend, Brad.

As the film commences, Blunck is given his first onscreen role where Griffin tries out a monologue of his brand new play to a rather uninterested school. It is amusing to an extreme watching that ill-fated young boy trying to deliver a rather exaggerated rendition of his concept of an ‘adult drama’ and laughing uncontrollably as his classmates follow the same cycle. Many critics were worried that the film stands for little other than the humor of seeing children behaving like adults, but it is gratifying to see Colia’s movie intervene quickly and dispel such worries it can offer much more than pure amusement value.

Then among all the profoundly stupid and cringeworthy jokes that pertain to the main plot one can see how one engagement with the art can be a rather lonely battle for some. It feels as if with each new decade art is becoming an artifact in history and those who try to perpetuate it are lampooned and seen as nothing but elitists by the ever more illiterate populace. Of the two of them, it appears that Brad is devoid of any chance of developing a real talent, and what Griffin’s career will look like as a playwright is anyone’s guess, but what they both have is a love for the art which in our days it is so hard to find, which one cannot fail to applaud. Griffin is the kind of kid who a lot of adult people who, use a rather expensive view of the world as a highway of expenses for which that kid should probably be told to give up on his dreams will probably tell to quit his dreams, thus this summer is probably the best example of Griffin’s creative ambitions. It is funny to observe how Brad and Griffin understand art as well as how the ironic character sketch of Colia is indeed an ineffective means of conveying the underlying satire about the Babylonian society that ostracized the artists.

Griffin In Summer is a beautifully harsh movie with an underlying sweetness. It is touching and rather optimistic because, in the end, all that outcasts need is to find a few more outcasts and these others do not necessarily have to be warm and cuddly, but rather, just normal.

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