Richard Linklater’s Boyhood is a film defined by its own logistics. The project began back in 2002 when Linklater decided to bring together a group of actors to portray a family that would age and change with the natural passage of time. Clearly very conscious of the logistical difficulties inherent in keeping a cast together for over a decade, Linklater designed a production schedule that would minimise production time while giving him as much narrative wiggle-room as possible. Thus, rather than working from a fixed script, Linklater would shoot for a couple of weeks every year, re-watch all of the available footage and come up with just enough narrative and scripting to generate another year’s worth of footage. While it is easy to understand why Linklater would choose to approach the project in this fashion, his decision to emphasise flexibility at the expense of focus has resulted in a film that manages to lack both the complexities of real life and the resonance of fictional artifice. Stranded somewhere between the desert of the real and the palace of dreams, Boyhood is little more than a collection of haircuts and games consoles.