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People keep attempting to rouse up 11-year-old Paul Graff in “Armageddon Time.” (a sensitive performance by Michael Banks Repeta). In 1980 Queens, New York, sixth-grader Paul is a small, idealistic boy. From the first day of school until the family watches the presidential election results in November, over the course of two months, we repeatedly see Paul in a sound sleep as different family members attempt to wake him. In Paul’s bedroom, his father Irving (Jeremy Strong) dances. Ted, his older sibling (Ryan Sell), leans on him. He is instructed to get dressed for school by his mother (Anne Hathaway).
These awakenings mark Paul’s other awakenings, some of which James Gray, the writer and director of “Armageddon Time,” based on his own experiences, only sees in hindsight. This is a movie by an adult that provides a deeper comprehension to memories of the past, much like “Aftersun.” These final years of childhood provide an opportunity to explore the indescribable tenderness of the period when the world seems filled with limitless possibilities but we are only beginning to realize how much of it is also filled with complications, disappointment, and loss. This is true of many other stories about 11 to 12-year-olds, such as Dorothy in “A Wizard of Oz,” Riley in “Outside In,” Harry Potter, and Tom Sawyer. Similar to Louis Malle’s “Au Revoir Les Enfants,” another autobiographical memory film about young people, “Armageddon Time” tells the tale of innocence in childhood as it is recalled with remorse and a sense of responsibility, with adult awareness of history’s most heinous bigotries and injustices.
With his parents and older sibling, Paul resides with them. He is frequently with his encouraging grandpa. (Anthony Hopkins). They idolize one another, and Paul views him as his best friend and wisest counsellor. When Paul tells his parents that he wishes to be an artist, they advise him to pursue a less dangerous career path. However, his grandpa gifts him a set of adult paints. Paul hears his parents say that because he is not as intelligent as his brother, he will not have the same chances to earn “a seat at the table,” which is what they most want for their boys. But his grandpa supports his aspirations.
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At school, Paul meets a new acquaintance. The only Black pupil in his class, Johnny Davis (Jaylin Webb), is bigger than the other kids because he is repeating the sixth grade. They become friends because of how they both got into trouble on the first day—Johnny for disrespecting the teacher who continually makes fun of him, and Paul for making a caricature of the teacher. They skip a school field excursion the following week and enjoy a blissful day in Manhattan. But they encounter more difficulties. Paul’s parents transfer him to the upscale Kew-Forrest private school. Fred Trump sent his kids there, as well as prospective judge Maryanne and president Donald. Fred Trump is present during Maryanne Trump’s (Jessica Chastain) speech on desire and success on Paul’s first day of school.
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Paul’s grandpa advises him to be a “mensch,” or a person of morality and virtue. A good person will always defend the mistreated. He shares with Paul the story of his own mother, who was an adolescent when Cossacks murdered her Jewish parents. However, Paul is under pressure from both his parents, who do not want him to see Johnny because they got into trouble together, and the flagrantly prejudiced kids at his new school. He desires to blend in. And he encounters challenges to his mensch-ness in circumstances that are getting harder and more complicated.
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The film’s sincerity and good intentions are apparent, as are its aspirations to link Johnny’s struggles and the difficulties of being a good person to Ronald Reagan’s election and Donald Trump’s potential future. Many of the movie’s scenes, particularly those involving Repeta and Hopkins, are moving. The movie captures the time and place vividly and evocatively. As the mother, Hathaway treats Paul with kindness, humor, and occasionally indulgence. One of the best sequences in the movie is the transition between when she defends him to the principal and when she can finally express her true feelings after they have left his office. When it is obvious to us, if not to Paul, that she has received some very sorrowful news, she is particularly moving.
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However, the movie does a poor job of creating other real personalities. Strong’s father can be cruel or kind depending on the requirements of the plot, a change that is insufficiently explained by what he has gone through. The characters of the brother and public school teacher are extremely satirical.
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The script’s failure to present us with a completely developed, authentic character for Johnny is the most concerning. The film is largely intended as an apology to Johnny and all of the other children who, like him, were not properly cared for at home and who were regularly abused by the people and institutions that were supposed to be there to help them. The way Johnny is treated by his teacher and older Black students who mock him for wanting to work for NASA breaks my heart. Why wouldn’t he want to leave this world as quickly as possible?
Webb is a talented young performer who conveys a lot simply through his gaze. In those brief instances when Johnny feels connected and full of hope, his countenance brightens. But Johnny’s personality is underdeveloped; he is more of a collection of traits than an individual. It feels like yet another way to let him down that he is not allowed the same interiority we see in other characters.
With a broad release on November 4th, the film is currently showing in some theaters.
For more personality quizzes check this: Breeding Difficulty Quiz.
