A quiet, lucidly crafted journey of a teenage boy in search of a home. Andrew Haigh delves into his first US-set story with a powerful look at self-discovery, exploring what it takes to escape your own childhood and explore your own roots under a new light. A coming-of-age drama where its own protagonist - a very mature Charlie Plummer - keeps running after his past affections rather than his own freedom.
Wow this is Depressingville population: 1 16-year-old boy. Lean On Pete is a bit repetitive and I lost interest about an hour into the movie; but it has some solid dramatic moments peppered throughout. Good performance from Charlie Plummer.
A bit stylistically repetitive, with all the internal framing boxing in Charlie unless he is out in the wide expanse of the outside world with Pete, but has some genuinely shocking moments and good performances.
Say hello to the most underrated film of 2018 - a film that I've now seen 4 times and one I'd rank in my top 5 from 2017. Lean on Pete is the Bicycle Thieves of horse movies - don't even call it a horse movie, it minimizes it too much. Lean on Pete feels like a different side of nature. If Terrence Malick is the wind, Haigh is a tree. Honest, minimal, real. I can't remember the last time I cried so hard in a movie.
leaning into 4. Haigh has a talent for striking gold on the tiniest hills (doesn't work as well on tv! but that's another essay). What this story has in higher stakes it loses in originality - the whole thing feels a bit too cute, the loneliness a bit manufactured. For the 20ish minutes it turns into L'Argent, I was in love.
An uncannily round view of America--both ugly and beautiful, tender and tough. You may read it as a portrait of masculinity in crisis as viewed by a fledgling young man. Or you can view it as a new kind of Western, at least partially so, and a road film that leaves the viewer plenty of space to roam and ruminate on. The horse is the soul.