Big Boys Masterfully Tells a Story of Queer Adolescence

Big Boys Offers a New Dawn for Queer Coming-of-Age Stories

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For Queer stories, “coming-of-age” often involves coming out. Narratives about Queer adolescents mainly focus on the stress of navigating identity and the complexities of acceptance—both from within themselves and from their families and communities. Although Queer narratives that explore sadness and pain are essential, they often dominate the media landscape, overshadowing stories of joy, love, resilience and community. The trope of Queer tragedy continues to permeate the film and television landscapes, especially when straight creatives pen these stories.

In contrast, The 2023 film Big Boys is a refreshing counterpoint to this trend. Written and directed by debut filmmaker Corey Sherman, the film follows 14-year-old Jamie (played by Isaac Krasner), who is excited for a family camping trip with his beloved cousin Allie (Dora Madison). However, his plans take an unexpected turn when Allie invites her new boyfriend, Dan (David Johnson III), to join them. Initially resistant, Jamie’s perspective shifts as he becomes attracted to Dan, allowing the story to explore the nuances of self-discovery amid the pressures of adolescence.

The complexity of queerness and the human experience is not solely defined by suffering. Big Boys embraces this idea by weaving moments of humor and warmth into Jamie’s journey, celebrating the triumphs and discoveries coinciding with embracing one’s identity. This focus on joy and authentic connection highlights that Queer media can—and should—encompass a wide array of emotions and experiences, offering a fuller representation of Queer adolescence. Through Jamie’s evolving understanding of himself and his relationships, Big Boys paints a vibrant picture of the hope, beauty and joy accompanying the self-acceptance journey.

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Big Boys effectively uses comedy to connect the viewer to its central characters but relies on quieter moments to ground the viewer in the story. The film tonally bounces between comedy (often cringe-comedy) and pathos of adolescent self-discovery, a tone that is difficult to strike successfully. The film utilizes its performances and focuses on the editing by Sherman and Erik Vogt-Nilsen, making adept use of the silent reactions from the characters. In the film’s final scenes, Sherman times the emotional beats especially well. Although the story never lingers, and its runtime is a brisk 90 minutes, the editing still makes time for the quieter moments of silence. The cinematography by Gus Bendinelli also aptly utilizes the location and open space, delicately using Jamie’s gaze to steer the film. Each shot in the outdoors utilizes the campground’s vastness and the location’s beauty to frame its characters.

Because Jamie is so profoundly sympathetic and relatable, the film can evoke a palpable discomfort for viewers. It expertly elicits a sense of cringe-worthiness in Jamie’s behavior, reminding us of the often painful awkwardness of adolescence—the desperate attempts to fit in, to appear calm, and to be liked by others. One particularly awkward scene features Jamie lingering and monologuing outside Allie and Dan’s tent while they are clearly preoccupied, creating an almost unbearable tension that adds a refreshing unpredictability to his character. Watching Jamie’s journey can be an excruciatingly familiar experience, simultaneously heartwarming and uncomfortable for all those who have navigated those tumultuous years. It can often induce cringe, but never at the expense of its characters. The viewers are encouraged to laugh alongside Jamie and all his quirks and root for his success and growth.

The way Krasner expresses his attraction to Dan via his physicality – quick glances, biting his lip, an awkwardly nervous stance when trying to appear more confident – is effectively subtle. Krasner’s performance, imbued with hope, authenticity, and clumsiness, is consistent and understated, with impeccable comedic timing and the confidence of a veteran actor. Jamie is also well written; rather than being a caricature of teenage awkwardness, Jamie is more three-dimensional in scope–astute and creative, a skillful chef, and a Barefoot Contessa stan. Rather than succumbing to typical tropes of juvenile angst, Jamie is confident and kind. Though he is desperate for approval from Dan, he remains firm in his abilities, unafraid to show his talents and vulnerabilities, making him an endearing lead.

Jamie’s brother Will, portrayed by Taj Cross (of PEN15 fame), personifies the toxic masculine pressures that weigh heavily on Jamie. Brash and openly homophobic, Will clings to a rigid performance of masculinity that demands dominance and a facade of coolness. When the brothers encounter a group of teenage girls from a nearby campsite, Will insists that Jamie connect with Erika, an anime-loving teen played by Marion Van Cuyck (also a PEN15 alum). He forces Jamie to stay, ignoring his evident discomfort.

After their interaction, Jamie lies to Will about his connection with Erika. Although Jamie recognizes that he mistreated Erika, he still sacrifices her feelings to conform to the misogynistic expectations of masculinity and the internalized homophobia he battles. In a poignant moment, we see Erika connecting with another boy after Jamie, granting her the agency and confidence she deserves rather than relegating her to a mere device for Jamie’s character development. Van Cuyck infuses Erika with a specificity that elevates her beyond a caricature or simply a foil for Jamie.

The brotherly dynamic between Will and Jamie underscores the pressures that compel Jamie, and Queer people at large, to conform to heterosexual norms and traditional expressions of gender. Their interactions vividly illustrate the weight of these expectations, offering viewers a clear depiction of why Jamie feels constrained in expressing his sexuality.

At the film’s start, we see Jamie idealizing masculinity and yearning for a genuine connection with a man. As the story unfolds, he struggles to conform to societal expectations of masculinity, a challenge complicated by his attraction to men. Like many children, Jamie emulates those he admires, leading him to adopt a backward hat after noticing Dan wearing one consistently during their trip. As the film progresses, Jamie gradually sheds the performance of masculinity he initially adopted, where he attempted—albeit unsuccessfully—to project an image of cool detachment and emotional restraint. Ultimately, Jamie becomes more vulnerable and confident, finding the courage to share his feelings with those around him. Rather than emulating the version of masculinity he sees in others, Jamie learns to express himself authentically. This transformation marks a significant shift from the pressures of societal norms to a more genuine expression of self—a Jamie who is vulnerable and gentle, the lover of Barefoot Contessa and spice blends.

Similarly, Dan is a gentle character, defined by his tenderness and desire to support Jamie as a mentor. In a brief scene, Dan shares that he was bullied by his older brothers, highlighting that he understands Jamie’s struggle, drawing a parallel to their experiences. This shared vulnerability fosters a connection between them, as Dan sees himself in Jamie and aims to connect with him. David Johnson III’s performance is imbued with remarkable depth; his portrayal beautifully conveys Dan’s compassion and understanding. Johnson portrays Dan as unsure of how to react to Jamie’s behavior, but consistently sympathetic. Although Jamie likely makes Dan uncomfortable at many stages of this trip, Dan is never judgmental or put off by him. In many ways, the audience could view Dan as the narrative antagonist of the film; he’s a character that sparks turmoil within Jamie to understand himself. However, the script, brought to life by Johnson’s performance, ensures that Dan is anything but nefarious. When Dan is forced to navigate awkward situations with Jamie, he responds with compassion and reassurance, making it easy for the audience to understand why Jamie finds solace in Dan in the first place.

The score, by Will Weisenfeld, primarily features vocal harmonization, capturing the essence of youthful infatuation that evokes the tender, hopeful emotions of experiencing a crush for the first time. It paints an ethereal soundscape that reflects the exhilaration of admiration, inviting listeners to explore the nuances of self-discovery and identity that often accompany Queer longing. The music captures that bittersweet blend of innocence, creating a dream-like atmosphere and voicing Jamie’s longing.

In the film’s final act, Jamie’s confession to Dan highlights the strengths of both Krasner and Johnson. Krasner embodies a nervous authenticity paired with newfound confidence; despite feeling uncertain and anxious, Jamie is driven by a determination born from frustration, which Krasner gradually builds throughout the final act. Johnson exhibits a patient gentleness that establishes him as a performer worthy of recognition for his ability to convey a layered blend of empathy, uncertainty, and warmth. Dan’s acceptance of Jamie’s divulgence emotionally ties the film together while navigating his uncertainty about how to support Jamie. He remains flexible and welcoming, appropriately establishing boundaries while continuing to reassure him. In the film’s final scene, we see Jamie (literally) unpack his connection to Dan, symbolizing the new possibilities that lie ahead in his future.

Sure, unrequited admiration can carry a sense of tragedy, but the beauty of queerness and the journey of self-discovery often illuminate a unique hope for the future. Big Boys expertly presents this balance. In a poignant dream sequence, Jamie envisions himself as an adult, portrayed by Jack De Sanz, in a tender relationship with Dan. This brief yet powerful moment encapsulates the hope Jamie harbors for his future. It serves as a striking testament to the dreams and aspirations that blossom in the heart of youthful longing, showcasing that newfound identity can be confusing and overwhelming. However, this discovery ultimately leads to the possibility of love, acceptance, and a more authentic self.

Big Boys is available to rent and stream on Prime Video and Apple TV+.

Joshua Harris (he/him) is a lover of television, independent film, and his two dogs. His work has appeared in Awards Radar, mxdwnTELEVISION, and more. He is an African-American Film Critics Association (AAFCA) member.

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Big Boys Offers a New Dawn for Queer Coming-of-Age Stories