An engrossing drama that transports us to Chicago's Cabrini-Green captures the hardships and dreams of youth. Our We Grown Now review:
When LaJoe Rivers—the mother of eight whose family lived in Chicago’s Henry Horner Homes—gave Alex Kotlowitz’sits title, she was pushing back on the idea that a story could be told about the children of the projects. “They’ve seen too much to be children,” she explained. But her boys, specifically Pharoah and Lafeyette, were still just kids.
Most important for the boys—far more pressing than the atmospheric dangers of stray bullets or drug addiction—is sticking together.’s best scene is when they play hooky, hopping the train to the Art Institute. They goad each other, harmlessly trying on a sleeping man’s hat and flirting with a pretty woman, and are in awe alongside one another.
This tragedy is slowly built out, its sadness emerging from the cracks in their lives. It peeks its head through the struggling gaps in the straightforward slice-of-life plotting. It settles in when you realize the ever-present soundscape—the underlying thrum of voices, banging fists and pots, boombox beats, dripping faucets—is about intimacy, good and bad. At any moment, a gunshot could tear through this communal lack of sonic privacy, and everyone would know.
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