Film Review – Mile End Kicks (2025)

      Mile End Kicks, 2026.

      Written and Directed by Chandler Levack.

      Featuring Barbie Ferreira, Jay Baruchel, Devon Bostick, Stanley Simons, Juliette Gariépy, Robert Naylor, Isaiah Lehtinen, Emily Lê, Hasani Freeman, Emma Cheuk, Magi Merlin, Svetlana, and Citta Audrey Ann Boucher.

      SYNOPSIS:

      A 24-year-old music critic becomes romantically involved with members of an indie band she chooses to promote. This coming-of-age tale, seen through the lens of aspiring indie rock music journalism, is crafted by writer/director Chandler Levack, who skillfully navigates insider storytelling without alienating those unfamiliar with the music scene. The personal journey of Grace Pine, played by Barbie Ferreira—filled with undeniably frustrating decisions that may seem unrealistic at times—remains authentic to her character and the 2011 Montréal backdrop.

      The conflict arises from Grace’s complicated character, who finds herself in an unfulfilling intern position surrounded by pretentious male music journalists who belittle her taste. Additionally, she faces exploitation by her manipulative editor, portrayed by Jay Baruchel. This leads her to impulsively leave Ontario for Montréal, where she aspires to write a book on Alanis Morissette while living with an unstable couple (Juliette Gariépy and Robert Naylor) linked to an indie rock band. Throughout her journey, Grace’s short-sightedness forces her to confront her own privilege—realizing that she takes for granted her parents and her roommates, whom she mostly freeloads from. This scenario resonates with the experiences of a young and ambitious 24-year-old struggling to navigate a cutthroat industry known for male gatekeeping. The film’s setting in this environment adds a layer of insight, as the filmmaker draws from personal experiences.

      Frustratingly, the film falls into a somewhat predictable love triangle, in which Grace, who is equally captivated by bands and writing about them (noting that women aspire to be rock stars and not merely accompanying them), sheds her ethical boundaries in her quest for mutual sexual attraction. She arrives in Montréal with a list of objectives, primarily focused on completing her piece on Alanis Morissette and having her first “real” sexual experience, engaging with band members Chevy (Stanley Simons) and Archie (Devon Bostick) while attempting to promote their music. The interactions between Grace and one member feel awkward; she allegedly throws herself at him, yet he shows little interest, failing to read the situation. If she ends up with one of them, it's predictable which one it will be. However, there are positive moments, such as the inclusion of a gay band member accepted by his peers.

      Grace's chaotic nature is acceptable; however, it’s hard to believe that a 24-year-old with ambitions to be taken seriously would engage romantically with the band she is trying to publicize. The men are not compelling enough to justify this romance, meaning the pursuit of sex—one of her four goals—fails to resonate effectively. Despite this, other aspects of the film feel genuine and insightful. It does not diminish the viewer's investment in Mile End Kicks; Levack treats the character and her choices with respect, and the drama and performances feel natural. We root for her to find her place in her world and industry, and that emotional connection gives the film its drive. There’s a rawness that even Alanis Morissette might appreciate.

      Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

      Robert Kojder