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The Dangerous Lives of Altar Boys (2002)
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Reviews Counted:29
Fresh:18
Rotten:11
Average Rating:6.1/10
Consensus: The inter-cutting of animation by Spawn's creator, Todd McFarlane, doesn't always work, but the performances by the young actors capture the pains of growing up well.
Rated: R [See Full Rating] for language, sexual content and youth substance use
Runtime: 1 hr 45 mins
Genre: Dramas
Theatrical Release:Jun 14, 2002 Limited
Box Office: $1,507,000
Synopsis: Set in the rural South in the 1970s in a Catholic school, four pre-teen boys (Kieran Culkin, Emile Hirsch, Jake Richardson, and Tyler Long) create a comic book called "The Atomic Trinity" to... Set in the rural South in the 1970s in a Catholic school, four pre-teen boys (Kieran Culkin, Emile Hirsch, Jake Richardson, and Tyler Long) create a comic book called "The Atomic Trinity" to channel their creativity, imagination, and rebellious adolescent angst. They each develop their own superhero and, in doing so, live out fantasy lives through their empowered, unchained alter egos. Their evil adversaries are exaggerated characters designed after their teachers: Sister Assumpta (Jodie Foster) the stark, peg-legged nun; and Father Casey (Vincent D'Onofrio), the shady, chain-smoking priest. The spotlight of the film shines clearly on the handsome Francis (Hirsch) whose crush on his neighbor and schoolmate, Margie Flynn (Jenna Malone), leaves him tongue-tied. Tim (Culkin) is bolder, and so he rewrites a William Blake poem and uses it to bring together secretly dark Margie with wide-eyed Francis. Their relationship flowers into one of the heavier and more mysterious subplots in the film. Margie is instantly written into the comic as a wounded warrior-heroine who enlists the superheroes to help her in her battles against evil. Meanwhile, the boys are busy planning--and occasionally executing--devilish pranks at school, eventually taking things a step too far, to tragic result. Based on the Chris Fuhrman book of the same name, adapted to the screen by writer Jeff Stockwell, THE DANGEROUS LIVES OF ALTAR BOYS from director Peter Care is an edgy, engrossing, teen rebellion flick. Extensive animated sequences share a good amount of screen time with the live action narrative, and a prescient musical score by Marco Beltrami and Joshua Homme provides the perfect accent to the action of the film. [More]
Starring: Emile Hirsch, Kieran Culkin, Jena Malone, Jodie Foster
Starring: Emile Hirsch, Kieran Culkin, Jena Malone, Jodie Foster, Vincent D'Onofrio, Jake Richardson, Tyler Long
Director: Peter Care
Director: Peter Care
Screenwriter: Jeff Stockwell
Producer: Jodie Foster, Meg LeFauve, Jay Shapiro
Composer: Marco Beltrami
Studio: ThinkFilm
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Reviews for The Dangerous Lives of Altar Boys
Although McFarlane's sequences are inventive, the rest of the film moves languidly.
I thought the young actors were strong, but the material is too thin and too cliched, even with Todd McFarlane's animated sequences to stretch the story to feature length.
It's not serious enough to be profound, and not ribald enough to be giddy.
While there are times when the film's reach exceeds its grasp, the production works more often than it doesn't.
A charming reminder of the combustible mix of puberty and authority in the lives of 14-year-olds.
Foster and newcomer Hirsch are the best things in Dangerous Lives, a touching but odd mix of live action and animation.
A fine, inventive '70s period piece about friendship, first love, and growing up to face the hard lessons of life.
Recalls The Virgin Suicides, Ghost World and Waking Life. If it's not as good as those, it isn't for lack of heart or ambition.
For a movie that's so full of anger and confusion, there sure aren't many memorable clashes, aside from the ones that take place in the kids' imaginations.
Built for nothing but the laziest Saturday afternoons, Altar Boys is zipless enough to seem to receive its narrative rhythms and emotional energy intravenously.
No, The Dangerous Lives of Altar Boys does not exist in a state of perfect grace. However, its sins are forgivably venial, because its virtues are palpably human.
A depiction of the growing-up trip, this is an original, no-bull effort.
The film takes us into the secret world of teenage boys as if first-time director Peter Care had been issued a special password.
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