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Olympics purists may be saddened to learn that skateboarding will debut as an officially recognized event at the 2020 Summer Olympics, in Tokyo, alongside surfing, climbing, baseball/softball, karate and the 28 permanent sports. Others, not so much. The world didn’t end when bowling, roller hockey and water skiing became demonstration sports. In proposing the inclusion of the five temporary activities, representing 18 separate events and 474 male and female competitors, IOC Tokyo Ghoul President Thomas Bach said, “We want to take sport to the youth. With the many options that young people have, we cannot expect anymore that they will come automatically to us. … Taken together, the five sports are an innovative combination of established and emerging, youth-focused events that are popular in Japan and will add to the legacy of the Tokyo Games.” What Bach probably meant to say was, “We want to take the Olympics to the youth,” in the same way that organizers of the Winter Olympics have profited from the recognition of events popularized by the widely televised X Games. In addition to a boost in ticket revenues, the exposure could produce a boom in equipment sales in the host country.

Jonah Hill’s endearing dramedy, Mid90s, is only the latest entry in a long list of movies in which skateboarding plays a key role in the social development of Altar Rock borderline characters looking for a reason to wake up in the morning. For his directorial debut, Hill decided to stick with a subject near and dear to his heart. In the DVD/Blu-ray’s lively commentary track, the Crossroads School graduate and two-time Academy Award nominee – Moneyball (2012), The Wolf of Wall Street (2016) – reminisces about his own boarding experiences as a youth growing up on mean streets of Cheviot Hills, on L.A.’s West Side, and working at Hot Rod Skateboard Shop, on Westwood Boulevard. It’s where he met several of the kids, from diverse backgrounds, who influenced characters in Mid90s. Although Hill doesn’t profess to be an expert skater or ambassador for the sport, the film’s 13-year-old protagonist, Stevie (Sunny Suljic), didn’t fall very far from the tree. Although, at first glance, Stevie doesn’t look much like the kind of kid who would be physically and verbally abused at home by his older brother and alienated from his single mother. He more closely resembles a puppy in the window of a pet shop, begging for a loving family to claim him. That’s pretty much what happens when he begins to hang out at skate shop, where a group of older slackers kill time by smoking cigarettes, riffing on each other with homophobic slurs and bragging about their sexual exploits. After inadvertently becoming the brunt of one of their word games, he’s adopted into the gang as a sidekick. He graduates after attempting a dangerous jump and nearly killing himself in the process.

In addition to providing an outlet for fun, away from home, the older boys serve as surrogate fathers and inadvertent role models. As such, they not only help him to grow as a skater, but mature as a social being, willing to risk the perils of getting high, smoking cigarettes, guzzling booze, dropping pills and being embarrassed during his first encounter with a sexually aggressive girl. As is usually the case in such coming-of-age flicks, Stevie will be required to experience a come-to-Jesus Halloween moment as the 85-minute Mid90s nears its conclusion. Hill handles the situation with compassion, as well as concern for his audience’s feelings. Suljic, who’s already appeared in The Killing of a Sacred Deer (2017) and The Unspoken (2015), fulfills the role of Hill’s alter ego here, even if he looks completely out of place as a gang member. Katherine Waterston and Lucas Hedges are fine in roles that are largely overshadowed the wasted wastrels. They’re played by Na-kel Smith, Olan Prenatt, Gio Galicia and Ryder McLaughlin, all of whom look as if they might have been cast from a lineup at a local skate park. The music, too, reflects an eclectic mix of 1990s’ sounds, ranging from punk and funk, to hard-core hip-hop, grunge and a delightful take on The Mamas & the Papas’ “Dedicated to the One I Love.”

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