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Lack of good storyline.

Good story, Not enough for a whole film

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

It's the early 70s NYC. A 10 year old Charlie Banks admires from afar the neighborhood tough kid Mick Leary. Later as teenager, Charlie (Jesse Eisenberg) is introduced to Mick (Jason Ritter) by Danny Bowman (Chris Marquette) at a party. Mick savagely beats up two jocks and Charlie gives him up to the police for attempted murder. Charlie recants and the police has to release Mick. Years later, Charlie and Danny are roommates in college chasing girls like Mary (Eva Amurri) and Nia (Gloria Votsis). Then Mick shows up to crash in their room. He injects himself into all aspects of Charlie's life. Charlie starts to wonder if Mick knows that he was the one who turned him in.The writing is a little bit wonky and the directing from Fred Durst is unimaginative. Eisenberg is good as his usual nervous weakling character. Ritter is ill-fitting as the vicious explosive Mick. I really don't understand where that character is suppose to be but Ritter is not nearly tough enough. I don't blame him for stretching but he's not right for the role. Overall, it's an uneven but otherwise interesting coming-of-age movie.

I start my review letting you know what this movie's title has nothing to do with the story itself, since it's not centered in Charlie Banks' education. Well, this movie is about a violent guy that shows up in the house of two old friends after years without seeing each other, in order to "spend some time". What friends didn't know is that Mick, the violent old "friend", is a stressed guy that puts a fight for anything. However, Mick shows to be a very friendly person, hugging and caring about the other guys all the time, so they couldn't see he was still a rowdy person. What is interesting to testify in this movie is how violent people almost never change. I know some guys that were pretty violent in high school and, many of them still are, specially with women. Performances are professional and Jason Ritter deserves to be congratulated in this work. Good and different movie, which mainstream fans won't probably enjoy.

As the directorial debut from Limp Bizkit's outspoken and often loathed frontman, Fred Durst, it's safe to say that the bar was set very low for "The Education of Charlie Banks" -- too low, as a matter of fact, as Durst's film (drawn from a screenplay by Peter Elkoff) is a surprisingly rich experience that unfortunately sat on the shelf for too long after being made and which got virtually ignored by critics and mainstream audiences alike.Opening in the mid-70's and then picking up sometime in the 80's, "The Education of Charlie Banks" tells the story of a bully (Jason Ritter) who appears as some sort of boogeyman to the title character (Jesse Eisenburg). Though the two make acquaintances as teenagers, it isn't until his college years that Charlie finds himself being truly haunted by the ultra-violent hot-head when he shows up unexpectedly in the dorm-room he shares with his childhood friend (Chris Marquette). Slowly, he works his way into Charlie's life, tagging along in spite of the fact that he never quite fits in. Has this friend from the past changed his ways, or is he just a hot-head ready to blow at any minute?Without a doubt, the film was influenced by the films of Martin Scorsese (see the "Raging Bull" poster in Charlie's room) and although it's not quite in the same league, it's a noble effort nevertheless. The film reaches for lofty heights, and thanks to its credible cast, reaches them. You'll feel immersed in the characters and situations in "The Education of Charlie Banks" and while it's ending doesn't exactly resolve anything, ultimately resembles reality a bit closer than the average coming-of-age story. It's a well-written and well-paced story directed almost effortlessly by Durst that should intrigue the interested and silence the critical.

There are two ways you can look at this film. The first is simply as a drama film like any other, a well-set piece for the epoch it unfolds in; certainly the clothing and set accessories are all in their right place for the 70's/80's. The acting is quite impressive all around: Jesse Eisenberg and Jason Ritter are the stars of the show, commanding very well-built characters; one a more introspective, unspoken kid and the other a more domineering, swagger-carrying bad-ass. Chris Marquette and Sebastian Stan are also worthy of note, as is Eva Amurri as the typical thrill-seeking bored rich girl - the type that tends to want what she can't have, in this case a guy who is perhaps not to be trifled with, possibly of the kind she is ill-equipped to deal with, or at least to deal with as she does - again the typical heart-breaking machinery at work.The other way you can look at this film is as a Fred Durst production. Considering he was the director, you're ready to give it more credit than it would be worth straight out of the bat. It is quite impressive on his part that he was able to put this together (if such was the case), even if marks of a certain lack of experience are visible throughout. First we have the screenplay - some of what the characters are saying is repetitive and at times nonsensical. The dialogue could have been more elaborate - that would certainly have upped the quality and believability quotient - not that the film strays too far from reality - in fact it tends to steer back on track and find it's way safely to the end, yet scenes such as the one when Jason Ritter is in the bar by himself with only a few "workers" around him and the things the barman spouts there. These exhibitions of class demarcation and the like are ultimately unreal. There is also an ongoing attack at "rich people" in general, when the case being considered is that of the spoiled offspring of some rich people - not all "rich people" are worthy of scorn. Second there is the unnecessary use of swear words. At a certain point in the film these just become tiring. Not that films should forcefully not contain these, the simple fact is a film reads differently than, say, a rap album with explicit content.However you look at it, notwithstanding, the film still pulls through successfully. Considering the kind of garbage being thrown our way these days, The Education Of Charlie Banks stands. The title is fitting; indeed, even if we may think otherwise, Charlie is the one who ends up learning from things. He in a way corrects his ways and makes the right choice. He shows humanity, he tries to be cooperative as opposed to being oppressive. Here the film triumphs, in that it reveals a positive message.Kudos to otherwise career-dead Durst for carrying this one through; let's hope he learns from his mistakes and rises to make better things? One can't help but think this could have been so immensely better with a different director, yet it is still surprising that it was carried under his wing.6.5(7)/10