
Charlene Michaelson, her two children - teen-aged Amelia 'Milly' Michaelson and precocious adolescent Louis Michaelson - and their dog Max move into a new house in a new neighborhood after the passing of Charlene's husband/the kids' father, Donald Michaelson. Beyond life without Donald, they are all nervous about starting a new life, which, for Charlene, means getting back into the workforce after thirteen years. Milly quickly settles into the neighborhood if only because she... (Full plot summary below)
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Charlene Michaelson, her two children - teen-aged Amelia 'Milly' Michaelson and precocious adolescent Louis Michaelson - and their dog Max move into a new house in a new neighborhood after the passing of Charlene's husband/the kids' father, Donald Michaelson. Beyond life without Donald, they are all nervous about starting a new life, which, for Charlene, means getting back into the workforce after thirteen years. Milly quickly settles into the neighborhood if only because she becomes fascinated with their next door neighbor, teen-aged Eric Gibb, who authorities believe is autistic. Orphaned Eric has never spoken a word, and without having been told about the incident, began to think he could fly at the exact moment his parents died in a plane crash. Many believe Eric's belief is because he felt he could thus save his parents. Eric's guardian is his dipsomaniac Uncle Hugo Gibb. Milly's high school teacher, Mrs. Carolyn Sherman, who used to be a special needs teacher, looks after Eric as much as anyone. Mrs. Sherman believes that having Eric in her class with "normal" students is a positive environment for him, unlike the authorities who believe he should be institutionalized. Milly's official and unofficial tasks become to see what lies deep within Eric's psyche, and if there really is any validity to what people think Eric believes.
Leave your thoughts about The Boy Who Could Fly.
| Washington PostRichard HarringtonYou don't have to be young or old to enjoy it this lovely, engaging film, just open-minded, or at least bighearted. At once funny, sad, moving, inspirational and revealing, The Boy Who Could Fly suspends the law of emotional gravity, soaring at just the right moments. |
| EmpireGavin BainbridgeA commendable rarity: a sensitive childrens film that neither patronises them nor insults their intelligence. |
| The New York TimesJanet MaslinA gentle and affecting film that ought to charm older children while also holding their parents' interest, |
| Chicago ReaderPat GrahamIt's easy to pick this emotional bunny rabbit apart—for the sentimental bathos, the literalism, the radiating wholesomeness (everything David Lynch parodied in Blue Velvet, down to the impeccable small-town streets and flowers framed against a screaming blue sky . . . only Castle gives it to you straight, without irony)—though what's remarkable here, and altogether rare, is the artifice and polish of Castle's studio-rooted style. |
| Washington PostDorothy MacKinnonIt's funny and sad and a little surreal, the kind of movie that makes you willingly suspend your disbelief. You don't have to be a kid to enjoy it, but you'll feel like one again when it's over. |
| Chicago Sun-TimesRoger EbertMovies like this can be insufferable if they lay it on too thick. The Boy Who Can Fly finds just about the right balance between its sunny message and the heartbreak that's always threatening to prevail. |
| Miami HeraldAri Z. PosnerThe Boy Who Could Fly is as fragile as a kite, yet it’s kept aloft by the commitment of writer-director Nick Castle and the talent and presence of lovely young Lucy Deakins, who has that crucial gift of catching us up in her imagination. |
| Reel Film ReviewsDavid NusairFilmmaker Castle has infused The Boy Who Could Fly with an exceedingly (and often excessively) deliberate pace that prevents the viewer from connecting to the material throughout... |
| Chicago TribuneJohanna SteinmetzThe surreal is appropriate to a story based on fantasy, but the unevenness in tone here makes watching ''The Boy Who Could Fly'' a little like hitting airpockets in a puddlejumper. |
| Orlando SentinelJay BoyarBackhanded compliments are pretty much the only ones The Boy Who Could Fly deserves. The subjects, here, are childhood and illness: topics that otherwise tough-minded people are inclined to approach with uncharacteristic sentimentality. But though the film is both sappy and cliched, it's not as sappy or cliched as might be expected. All things considered, it could have been a lot worse. |