Pay tribute to [link=/name/nm0000469/]James Earl Jones[/link], [link=/name/nm0001167/]Shelley Duvall[/link], and more stars we lost in 2024.

In Memoriam 2024

Pay tribute to <a class="ipc-md-link" href="/name/nm0000469/?ref_=tturv_eds_right-3_lk">James Earl Jones</a>, <a class="ipc-md-link" href="/name/nm0001167/?ref_=tturv_eds_right-3_lk">Shelley Duvall</a>, and more stars we lost in 2024.

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IMDb Staff Picks for December

Charlie, his sexy girlfriend, and his moronic best friend drink, drug, and self-destruct over the course of one day at the home of Charlie's father in Los Angeles.

The Young Unknowns is a movie that: from the moment you become engaged in the characters; you&#39;re not quite sure how to take it all in. At no point throughout the entire film are you introduced to a likable character. For one reason or another, the moment you find a bit of sympathy for one of them, the next you&#39;re cursing them under your breath. It&#39;s a &quot;day in the life&quot; sort of film and that&#39;s exactly what it is. It never justifies itself, it never blatantly follows any set &quot;rules&quot; of story progression; it doesn&#39;t have to. It literally feels like your a fly on the wall, not so much viewing a movie but peering into someones really f******* bad day. Acting is good, cinematography is gorgeous, and it&#39;s got that 90&#39;s feel of drugs and despair. It&#39;s a good film, not along the lines of great, but it&#39;s good.

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The Young Unknowns

(Mom and Dad lived in Hollywood) Tedious, predictable indie similar to Less Than Zero. With the exception of the girlfriend (who&#39;s the default hero for bailing out), unsympathetic narcissistic, vapid, posturing characters. I was hoping for a dramatic fiery car crash ending into the Hollywood sign with the drug addict model jumping out at the last moment. Best thing is the apparent Tubes reference...

Similar to Igby and DAngerous lives of altar boys, this film covers the milieu of rich, bored, unloved kids who screw up. Beautifully shot, well acted especially Devon Gummersall and Leslie Bibb. Good, solid indie film.

An outstanding portrayal of the central character and sensitivity toward the scene and milieu make this film worth watching for those who can put up with the discomfort and unpleasantness it shows us. &quot;Young Unknowns&quot; is about a twenty-something at a posh Hollywood Hills house whose father is a successful ad film director currently off working in his native England. The son too has aspirations as an ad director, but at the moment is working harder at being a thoroughly unpleasant person, arrogant and abusive toward his Spanish girlfriend and nearly everyone else and throwing his weight around in a flailing, ugly way that quickly reveals his intense insecurity and loneliness. Overshadowed by his remote dad, Charlie Fox (Devon Gummersall of &quot;My So-Called Life&quot;) compensates by pretending to be important and by keeping everyone at an emotional distance. He seems to be bursting with insecure self-importance that is constantly threatening to turn nasty. The people in his immediate vicinity are equally rootless and unhappy and seem themselves about to explode or do each other harm. As the movie opens, Charlie and his older girlfriend, Paloma (Arly Jover) are getting up at this big, slightly rundown, slightly empty, but still impressive house and taking a swim and having a drink and a smoke. Nothing is really happening, but so much the better to reveal Paloma&#39;s boredom and need to medicate herself and Charlie&#39;s angry, boastful insecurity. He makes some intensely vulgar sexual remarks to her, but there is no sex and no eroticism and no love. Then along comes Charlie&#39;s jive-talking friend Joe (Elon Bailey) with a girl model, Cassandra (Leslie Bibb), and the action, such as it is, begins. There is enough boredom and alienation here to fill an Antonioni movie but there is an added meanness and sense of danger that Antonioni steered clear of. &quot;Young Unknowns&quot; is without real longeurs because the emotions in it are so explosive and dangerous. Jelski keeps the aimlessness compelling through the sheer force of Charlie&#39;s bravado. It soon emerges that Charlie&#39;s mother is only one of three of his father&#39;s wives, and she was alcoholic and suicidal and faded from view but not from his life when he was twelve; she&#39;s somewhere in Vermont now. Charlie has been working on a &quot;spec film&quot; in hopes of becoming the director his father is, and he already boasts to Paloma that he&#39;s a big shot. He curses his photographer when he views the rushes on video. He curses Paloma. He curses his mother. He&#39;s abusive and hostile to everyone in sight. He ignores phone calls, but is clearly awaiting one from his father -- the only person whom he holds in awe. The events are so desultory that it&#39;s hard to say in what order they occur, but somewhere early on Joe gets physical with Cassandra and breaks her nose, which requires a trip to the hospital. Later Charlie learns that his mother is dead and he puts his hand through a door pane and when he and Joe go back to the hospital they pick up Cassandra, who turns out to be taking pills by the handful. The boys snort meth. Cassandra has an overdose. Charlie finally gets the call from England that he&#39;s been waiting for and learns that he must go to Vermont for the funeral alone and can&#39;t go over and spend time with his dad as he&#39;d like. He says goodbye to Paloma, who has seemed to want to leave him from the first few frames but unable to bring herself to do so till now. As the movie ends we see Charlie in an airport, alone, waiting to go to Vermont. The director collaborated with Wolfgang Bauer to adapt his play &quot;Magic Afternoon&quot; into this movie. What makes &quot;Young Unknowns&quot; valid and interesting is the intense, powerful performance of Devon Gummersall, whose impersonation of Charlie is full of commitment yet seamless. Gummersall embodies the self-centered, blustery jerk of a guy that is Charlie with a compelling and mesmerizing command that lacks any hint of theatricality. One can only conclude that he knows whereof he speaks, that indeed everyone concerned does. Arly Jover as Paloma is drenched in burnt out sadness. Elon Bailey as Joe is strange and explosive. Leslie Bibb as Cassandra is a pathetic non-person. Each of the actors gives a nicely individualized portrayal. The result is a slice of life: how the kids of celebrities live and go wrong. It ain&#39;t pretty, but it&#39;s convincing. &quot;Young Unknowns&quot; opened the same weekend as &quot;Raising Victor Vargas,&quot; and made a nice antidote to the latter&#39;s adorable sweetness and its very different sort of authenticity. It&#39;s too bad few who see Sollett&#39;s movie will see Jelski&#39;s and compare these two contrasting worlds, and too bad that the adept acting and direction of &quot;Young Unknowns&quot; will be lost on people turned off by the unappealing subject matter. Naivety is not the only thing in this world that can be &quot;authentic.&quot;

User reviews

The Young Unknowns

Beautiful and Unsettling

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