Mid90 is a joyously personalized occasion about the complexities of youth and growing up. Jonah Hill masterfully draws from the nostalgia than straight tacking it and I viscerally reacted to damn near every moment. The film itself rapturously authentic, masterfully ambitious, technically accomplished and one of the great movies of 2018.

Hill takes on Gus Van Sant’s regular DP Christopher Blauvelt, who captures a sunbaked California with euphoric authenticity. One of the most striking aspects is the multiple formats it is shot on. It features 16mm film in a strict 4:3 aspect ratio, making feel so raw yet intimate and lived in. It is a fresh of breath air from one of cinema’s fresh new artists.

The content is wise, funny, deeply moving. It is all utterly glorious and an unique artist born. What I love most about Mid-90s is how it nails the self-satisfaction we get from belonging, fitting in and living up to your own expectations. Sunny Suljic and his infectious smile is a revelation as Stevie, and a child actor I expect to see a lot more of soon. The picture also literally might have one the most inspired soundtracks compiled of any movie in recent memory that must have utilized much of its production budget to any producer’s nightmare. Then Jonah Hill has the audacity to transcend art and impose an experimental original score by Trent Reznor and Atticus Ross that fucking rules. Mid90s may struggle to find an audience in 2018, but I firmly believe will stand the test of time. [A-]