Filmmaker Chandler Levack’s latest film, ‘Mile End Kicks,’ now streaming on Netflix, delves into the complexities of early adulthood through the lens of a young music critic. Drawing from Levack’s own experiences, the movie, set against the backdrop of Montreal's indie-rock scene in 2011, stars Barbie Ferreira as Grace Pine, a woman in her early twenties trying to find her footing both professionally and personally.
Grace, who describes herself as a “brain in a jar,” is an aspiring arts journalist. Her journey begins with attending a concert by the indie band Islands, where she’s seen taking notes to review the show. This moment highlights the film’s exploration of the music criticism world, characterized by its male-dominated environment and the often precarious freelance nature of the work. Grace grapples with submitting invoices for payment while simultaneously having a cubicle at the music publication Merge Weekly, a detail that underscores the sometimes contradictory realities of her freelance status.
The film captures small but relatable moments for music enthusiasts, such as Grace’s excitement upon receiving a promotional CD of a new Joanna Newsom album before its public release. She navigates interactions with male colleagues who engage in fervent debates about music, often finding herself on the periphery of these discussions. Her editor, Jeff, played by Jay Baruchel, is depicted as a difficult figure, contributing to the overall narrative of Grace’s quest for self-discovery through a series of emotional, intellectual, and romantic entanglements.
A Summer in Montreal
Grace’s search for direction leads her to pack her bags and move from Toronto to Montreal for the summer. Her objective is to write a book about Alanis Morissette’s seminal album, ‘Jagged Little Pill,’ a project she pitches to an editor of the 33 ⅓ book series. However, this professional goal becomes complicated as her personal life takes center stage.
In Montreal, Grace shares living quarters with Madeleine (Juliette Gariepy), a club DJ whose boyfriend, Chevy (Stanley Simons), is the volatile singer of the local band Bone Patrol. The band also features Archie (Devin Bostick), a guitarist who appeals to Grace’s romantic sensibilities. While Archie, who has declared himself celibate, draws her heart, Chevy attracts her desire. This dynamic is further complicated by Madeleine’s description of Chevy as “the worst guy in Montreal.” Grace finds herself increasingly distracted by Chevy and his involvement with a shoe store named Mile End Kicks, diverting her attention from her book deadlines and financial concerns.
The film draws parallels to other cinematic explorations of music and coming-of-age, such as ‘High Fidelity’ and ‘Almost Famous,’ but with a female protagonist at its core, and adds elements reminiscent of ‘The To-Do List’ for its romantic comedy aspects.
Ferreira’s performance is central to the film, portraying Grace’s complexities and her navigation of the blurred lines between professional ethics and personal desires. Despite moments where Levack’s direction emphasizes Grace’s reactions, Ferreira imbues the character with a relatable depth, transforming a potentially one-dimensional role into that of a multifaceted young woman.
The narrative takes a turn as Grace makes a decision that tests her journalistic integrity by agreeing to become Bone Patrol’s publicist. This move is framed as a compromise of her professional principles, driven by her attraction to Chevy and a desire for new experiences. The film explores the tension between Grace’s self-perception as a cerebral individual and her actions, which are often guided by impulse and desire, including a specific desire to "have actual sex" during her summer in Montreal.
While the film touches on themes of sexual awakening and the music criticism world, it ultimately settles into a mildly disappointing coming-of-age dramedy. The screenplay is noted for being overstuffed with ideas that are not fully explored, leading to a narrative that sometimes feels unfocused. The film’s attempts at authenticity are described as feeling “tryhard,” suggesting Levack might be too close to the autobiographical material. However, moments like Grace’s solitary breakdown in the office at night, symbolized by a failing motion-sensor light, offer a glimpse into the emotional depth the film could have explored more fully.
Despite its flaws, ‘Mile End Kicks’ is characterized as a likable, albeit contrived, variation on familiar genre themes. The film is recommended for streaming, offering a portrayal of a young woman navigating the often messy intersection of career, relationships, and self-discovery.