It's the summer of 1994, and the streets of New York are pulsing with hip-hop. Set against this backdrop, a lonely teenager named Luke Shapiro spends his last summer before university selling marijuana throughout New York City, trading it with his unorthodox psychotherapist for treatment, while having a crush on his stepdaughter.
Friendship, love, and coming of age in New York City, summer of 1994. Luke Shapiro has just graduated from high school, sells marijuana, and trades pot for therapy from a psychologist, Dr. Jeffrey Squires. Luke is attracted to a classmate, Stephanie, who's out of his league and Squires' step-daughter. By July, he's hanging out with Stephanie, taking her on his rounds selling pot out of an ice-cream pushcart. Then things take a turn. In the background, Squires and his wife as well as Luke's parents are having their troubles. Written by
The screenplay for this film was featured in the 2007 Blacklist; a list of the "most liked" unmade scripts of the year. See more »
During the end credits, when listing Olivia Thirlby's stand-in, Thirlby is incorrectly spelled as "Thirby." See more »
The city's a disaster, Luke. Its not like it used to be. It's plastic. One big fucking happy meal.
Some people like happy meals.
Some people like the Yankees too, Luke. It doesn't mean they're right.
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When the Sony Pictures Classics logo appears at the very beginning and at the very end of the film, the word "classics" is erased and replaced with a graffiti rendering of the same word. See more »
I walked into this film with 0 expectations having received pre-screener passes from a local record store. This is a beautifully filmed true to life story which I felt held very deep meaning about the beauty that is the start and end of relationships. We follow the summer of two very different men in who are in very similar mindsets dealing with the personal crises, quiet pleasures, new experiences, and endless repetition that is life. This is a realistic and philosophical film that the label "comedy" does not do justice, but there are steady laughs throughout the film, especially for those of us who grew up in the 1990s. Only let-down was Mary-Kate Olsen, who I simply couldn't buy in her role, fortunately, it's a very small part.
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