User Reviews

"Boogaloo and Graham" is a British 14-minute short film from 2 years ago that managed a BAFTA win and Academy Award nomination last year, so a major success for everybody involved here, especially writer Ronan Blaney and director Michael Lennox. And even if I enjoyed the watch for the most part, I cannot give the film the same amount of love. For me, it was not among 2013's best in terms of short films. Of course, this is not saying it's a bad film by any means. I especially liked the performance of the older of the two boys and I always appreciate films that show a certain kind of love for animals. Yet, everything before the final plot twist was not too interesting and it too me quite a while to see a justification story-wise why this one was made. Nonetheless, I recommend it overall, just not with too much enthusiasm.

Of any other short film this year, no other has been able to cram more symbolism and meaning into such a short time slot than "Boogaloo and Graham", let alone combine such intricate meaning with such subjugation of an audience in that same short time span. In the following analysis, "Boogaloo and Graham"s ability to both captivate, provoke, and be technically sound will be examined, culminating in a final round-up of this enchanting little film.

To begin, serious praise must be given to both Riley Hamilton and Aaron Lynch for providing such convincing performances; childhood actors can often receive significant criticism, but Hamilton and Lynch left absolutely no room for that with their charming, endearing performances. Martin McCann provides a stellar performance as the father with a tinge of childhood innocence left in him, a central figure in the underlying theme of the film. Finally, Charlene McKenna quite adequately filled in as the tantalizing, oppressive mother who repeatedly attempts to quell the kids freelancing attitude through her visible dissatisfaction with the chicken, the key symbolic figures in the film. Ultimately, the acting in the film is sound. Technically, the cinematography is on- point, with no notable flaws and remarkably consistent technique - major props to Mark Garrett for this. The setting is also very apposite, giving off a feeling of oppression in Belfast that contributes to viably to the film. Captivation is no issue with "Boogaloo and Graham", a great signal for the film, as an audiences innate attention is the first step towards promoting a worthwhile, relevant message.

Speaking of a message, "Boogaloo and Graham"'s is certainly original and unorthodox for such a charming and enthralling film, making it all the more preferable. The theme of oppression and the adventurous spirit of childhood is enhanced, as stated in the aforementioned analysis, by the setting. Oppression is everywhere around Jamesy and Malachy; in their town and their home, control and autonomy over their own lives comes at a premium, making their father's present of Boogaloo and Graham so special. They savor this control and freedom - from having the ability to name these chicken to sleeping with them to taking them wherever they go, Jamesy and Malachy are free of boundaries, an amazing occurrence in a society where everywhere they went, suppression and maltreatment loomed over them. Significant symbolism is also displayed through through how the chicken age, but not the children, showing how while their material possessions may age, they "stay golden", and remain youthful in their enchantment with the world; ultimately, they remain remarkably untouched by society, instead, through their actions, convincing their parents to keep the chicken and rather than promoting the continuation of oppression, endearing themselves to their kid's childhood freedom and infusing themselves with a little of this same attitude.

Ultimately, 'Boogaloo and Graham' is an enchanting tale of oppression, surrounded and molded around an adorable, enthralling story, a rarity and true gem of a 14 minute film.