Inventive in its production; Richard Linklater’s Boyhood┬ádepicts the growth of a boy through his adolescence, the trials his family face and the hardship that is living life in its mundanity.

Surprising in that this film was 12 years in the making; the prolonged shooting period had no repercussions in terms of quality and performance integrity. It’s no surprise this picture has secured nominations at the coming Oscars for Best Picture, Director, Supporting Actress and Supporting Actor (amongst others).

It is a funny casting paradigm; having the focus on Mason Jr’s (the titular boy who’s youth is being depicted) transition from boyhood, to youth hood and ending with his beginning into adulthood is grounded in the sort of realism that is lost on film in its current state. Having the same actor, portraying the same boy (with the same actors portraying the characters that make up his family), the sense of growth is lacking when it is shown in time shifts that give no indication to an age.

The binary opposite of good cop, bad cop is played perfectly by Patricia Arquette and Ethan Hawke as Mason Jr.’s parents – Olivia and Mason Sr. Arquette is the embodiment of both momma bear and fragile woman trying to hold her life together regardless of the curveballs it’s throwing at her. Her performance is note perfect; bold and real (plus she’s a shoo in for the Oscar). Playing the cool, but never particularly present, dad Hawke interjects Mason Sr with likeability and charisma. His scenes, though are poignant are never at the depth of his co-star.

Mason Jr. is the artistic kid that the outsiders in the audience can relate too; he grows from the sensitive child to the inquisitive artist, while not being blinded by the world. Ellar Coltrane is a revelation here; to show depth at such a young age, never mind committing to a role that would see your childhood effectively ruined, seems very uncommon. Coltrane however gives a solid central performance.

The narrative isn’t particularly inventive, the trails and tribulations of a dysfunction family and the coming-of-age of it’s youngest member is a trope that’s been used tenfold for decades. The redeeming factor in all of its narrative function is that it’s not just character development, it is actor development. We see the process of ageing happen on screen, a rarity in Hollywood (or any mainstream for that matter).

The narrative is an intimate exploration of intertwining components of family life and the individual condition. It’s an emotional roller coaster down the realism ride, where the thrills are not the big drops you’re anticipating, but the subtle nudges and turns that you don’t expect.

The scene stealer definitely belongs to Lorelei Linklater as Samantha (Mason Jr’s sister); her “Goodbye house, I’ll never like Mommy as much for making us move” line, may just be my favourite line of dialogue all year.