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While it might be nice to see “Alex Strangelove” take different avenues, rather than rely on some of the broadest strokes of the teen genre, it’s hard to fault the film’s heart.
It’s a sweet story about someone who doesn’t know what their story is.
Even his choice of breakfast cereals are “Heter-Os,” “Gay Flakes” and “Bi-Crunchies.” But figuring it all out, one way or another (or the other), is going to bring about a dramatic change, and change is scary.
“Alex Strangelove” captures that anxiety all too well.
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Right off the bat, our teenaged hero Alex Truelove (Daniel Doheny, “Adventures in Public School”) tries to fit everyone in his high school into different species of animals, just to make sense of them all. The kid who dresses outlandishly is a Peacock Spider. We see Alex’s fantasies, we see drawings on the screen, we see online documentaries Alex makes with his best friend Claire (Madeline Weinstein, “Beach Rats”) that equate high school to a Savage Kingdom.
Also Read: ' Hearts Beat Loud' Film Review: Nick Offerman Plays It Sweet in Father-Daughter Drama Alex also finds himself increasingly distracted by Elliott (Antonio Marziale, “Altered Carbon”), a sophisticated boy about a year older, who is openly gay and keeps wanting to hang out.
Elliott is attractive, smart, sympathetic, stylish and endearing. Alex loves them both and considers, for a while at least, that he might legitimately be “in” love with both of them.
It takes place at a time when every decision we make, and every realization we come to, has huge ramifications for our future, our present and might even force us to reevaluate our past. ' Film Review: Mister Rogers Delivers Kind Message for Unkind Times And while Alex’s external circumstances aren’t particularly momentous (his biggest concern is whether or not he’ll get into Columbia, and what we wouldn’t all give to have problem), Doheny’s emotionally open-faced performance reveals just how seriously he’s taking his coming-of-age experience.
Doheny knows how to tell a joke, and he also knows how to sink into existential ennui, and Johnson’s screenplay takes him through all the points in between.