There are two ways you can look at this film. The first is simply as a drama film like any other, a well-set piece for the epoch it unfolds in; certainly the clothing and set accessories are all in their right place for the 70's/80's. The acting is quite impressive all around: Jesse Eisenberg and Jason Ritter are the stars of the show, commanding very well-built characters; one a more introspective, unspoken kid and the other a more domineering, swagger-carrying bad-ass. Chris Marquette and Sebastian Stan are also worthy of note, as is Eva Amurri as the typical thrill-seeking bored rich girl - the type that tends to want what she can't have, in this case a guy who is perhaps not to be trifled with, possibly of the kind she is ill-equipped to deal with, or at least to deal with as she does - again the typical heart-breaking machinery at work.<br /><br />The other way you can look at this film is as a Fred Durst production. Considering he was the director, you're ready to give it more credit than it would be worth straight out of the bat. It is quite impressive on his part that he was able to put this together (if such was the case), even if marks of a certain lack of experience are visible throughout. First we have the screenplay - some of what the characters are saying is repetitive and at times nonsensical. The dialogue could have been more elaborate - that would certainly have upped the quality and believability quotient - not that the film strays too far from reality - in fact it tends to steer back on track and find it's way safely to the end, yet scenes such as the one when Jason Ritter is in the bar by himself with only a few "workers" around him and the things the barman spouts there. These exhibitions of class demarcation and the like are ultimately unreal. There is also an ongoing attack at "rich people" in general, when the case being considered is that of the spoiled offspring of some rich people - not all "rich people" are worthy of scorn. Second there is the unnecessary use of swear words. At a certain point in the film these just become tiring. Not that films should forcefully not contain these, the simple fact is a film reads differently than, say, a rap album with explicit content.<br /><br />However you look at it, notwithstanding, the film still pulls through successfully. Considering the kind of garbage being thrown our way these days, The Education Of Charlie Banks stands. The title is fitting; indeed, even if we may think otherwise, Charlie is the one who ends up learning from things. He in a way corrects his ways and makes the right choice. He shows humanity, he tries to be cooperative as opposed to being oppressive. Here the film triumphs, in that it reveals a positive message.<br /><br />Kudos to otherwise career-dead Durst for carrying this one through; let's hope he learns from his mistakes and rises to make better things? One can't help but think this could have been so immensely better with a different director, yet it is still surprising that it was carried under his wing.<br /><br />6.5(7)/10