Richard Linklater's 12-year filming process on "Boyhood" has already become a thing of legend in the film world and the viewer will undoubtedly be left in awe at how the characters transition from one year to the next in a realistic and surreal manner simultaneously.

It emphasizes the film's theme of the uncontrollable movement of life, while also allowing its viewers an opportunity to remember touchstone moments of their own adolescence.

The film's narrative is rather barebones and is by no means traditional. Mason (Eller Coltrane) starts off as a six-year-old who lives with his sister and single mom. His father (Ethan Hawke) is a good-for-nothing who shows up occasionally to have fun with the kids, but offers them little else in the form of long-term commitment. Meanwhile, Mason's mother gets into a series of bad relationships throughout his childhood while he plays the role of the spectator in many cases. The narrative never seems "headed" anywhere in particular, mirroring Mason's own inquiries about the control he has over his decisions and life in general.

While Mason's adolescence unravels before our eyes with truly visceral effect, the film's ultimate power comes from its grandiose scale. Yes, it clocks in at two hours and 45 minutes and, yes, it took 12 years to film. But the true beauty comes from how much depth and substance is layered throughout. In many ways, the title could just as easily be called "Adulthood." Anyone familiar with Linklater's work knows that sequels are a possibility and that the fearless auteur would probably have no issue doing another 12-year production to document Mason's adulthood. But it is completely unnecessary considering the ground covered by Mason's parents. Both live completely separate lives that take on diverging paths and conclusions. In many ways, they provide the film with its major narrative thrust.

Mason's father abandoned the family and hangs out with the kids on weekends. Every interaction between the trio is filled with charm, fun and no tension whatsoever. The only tense scene featuring Mason's father takes place early in the film when his two parents argue outside the house; unsurprisingly however this conversation is unheard from the children who only see their parents in dispute from inside. As the narrative develops, the seemingly care-free and irresponsible father sells off his thrilling sports car to obtain a mini-van and become a tolerant family man.

Meanwhile, Mason's mother, a revelatory Patricia Arquette, is showcased as a hard-working single parent that strives to not only develop herself as a person, but give her children the best she can. In the opening scenes she refuses to go out with her boyfriend in order to stay home with the kids. But this devotion goes unrewarded. Mason's mother is shown arguing with this boyfriend, a motif that recurs throughout the film, often to increasingly violent effect. Instability and emotional abuse become partners to her driven and responsible nature, thus emphasizing how life can often be unfair to even those who strive for the best. In her final scene, Arquette gives a painful delivery as she comments on her own loneliness and the pointlessness it creates in her life. While Mason's father seemingly gets his happily ever after, she is left alone with no sure path. And yet, the viewer is left with a potent impression of which character is the stronger of the two. The contradiction of life at its most impactful.

These two endings of adulthood frame Mason's own entry into this next phase of his life. He questions his own control over the world and is constantly at the mercy of others, whether they be mentors, abuse stepfathers, girlfriends and his parents. But as the film draws to its ambiguous ending, Mason is shown driving up an endless road on his own, seemingly in control of his destiny but still following a pre-ordained path.

It must be mentioned that nostalgia is not at the core of the film. While viewers may certainly feel some nostalgia upon being reminded of major moments of youth, the film actually moves forward without really stopping to fully digest those milestones. Mason's graduation is implied but never shown. His first sexual experience remains a mystery. His relationship with his high school sweetheart Sheena is given a flourish in a montage, but their intimacy is only hinted at. Characters and relationships, even profound ones, come, go and never return. The perpetual motion of life is beautifully mirrored and the viewer even comes to forget certain people as they are substituted and replaced in later years by new relationships. Even Mason's sister Samantha, who is such a prominent character of his early years, fades out as the two mature and go their own ways. In a telling graduation ceremony, she has nothing really to say to him during her speech; a sharp contrast from her singing Britney Spears to him in their opening scene together.

Speaking of which, Linklater highlight specific years with major cultural moments. Early on, Mason's sister Samantha sings "Oops I Did It Again" and a few years later the children are shown in line waiting to pick up their copies of "Harry Potter and the Half Blood Prince." The War in Iraq gets a few prominent references while Obama and Biden signs incite the wrath of a harsh conservative.

In many cases, these cultural touchstones serve to illuminate the viewer about major characters. Mason's father is a massive Obama supporter early on in the tale and even takes down a McCain poster from someone's lawn. Later on in the film he marries into a conservative family, thus highlighting his increased tolerance and maturity.

The performances are nothing if not flawless. Every character brings tremendous depth to their evolving creations, if you can even call them that. Hawke's father is always warm and charming while Arquette's portrayal of the mother has a softened nature that is coupled with constant internal suffering. She does not need to cry because one look at her eyes expresses the depth of longing and loneliness that is consuming her life. Lorelei Linklater's portrayal of Samantha develops from a smart-talking child to a rather quiet and introspective teen while Coltrane, the real star, commands the show with a subdued and nuanced performance. His arc actually proves to be the polar opposite of Samantha's as he goes from a quiet child lacking in self-esteem to an extrovert brimming with confidence. Other notable turns come from Marco Perella as one of Mason's abusive stepfathers and Zoe Graham's magnetic turn as Sheena.

Late in the film, a grown-up Mason converses with a girl about life and its meaning. She questions whether one should "seize the moment" or if the moment in fact seizes everyone in it. Linklater's masterpiece does both and more. "Boyhood" seizes the viewers' attention and deepest emotions in a manner that makes it one of the finest films of the century and one that will endure for decades to come.