Barbie Ferreira
Grace Pine
Overview
Grace Pine, a 24-year-old music critic, moves to Montreal to write a book on Alanis Morissette's Jagged Little Pill, but her plans are complicated when she becomes romantically involved with two members of an indie band she is covering and decides to become their publicist.
Cast
12 people
Reviews
4 min read AI-generated editorial review
The Summer You Don’t Get Back
I’ve been thinking about the way Grace Pine cries in her office at night. Not the kind of crying that announces itself—no heaving shoulders, no dramatic gasps—but the quiet, defeated kind, the kind that happens when you’re alone and the motion-sensor lights keep flickering off, leaving you in the dark before you can pull yourself together. It’s a small moment in Mile End Kicks, but it’s the one that lingers. Maybe because it feels so real. Maybe because it’s the kind of thing you don’t usually see in movies about young women: not a breakdown, not a breakthrough, just a slow unraveling in the dark.
Chandler Levack’s second feature is a film that wants to be messy. It’s set in the summer of 2011, a time when the internet still felt like a series of rooms you could wander into and out of, when indie rock wasn’t yet a Spotify playlist but a scene you had to show up for. Grace (Barbie Ferreira) is a 24-year-old music critic who moves to Montreal to write a book about Alanis Morissette’s Jagged Little Pill, a project that sounds ambitious until you realize she’s mostly just trying to figure out what she’s doing with her life. She’s smart, she’s funny, she’s a little lost—and she’s played by Ferreira with a vulnerability that makes you root for her even when she’s making bad decisions. (Which, let’s be honest, is often.)
The film is often compared to Almost Famous, and the comparison isn’t unfair—both are about young women navigating the male-dominated world of music journalism, both are steeped in the nostalgia of a pre-social-media era. But where Almost Famous is a love letter to the romance of rock ‘n’ roll, Mile End Kicks is more interested in the hangover. Grace isn’t just covering a band; she’s sleeping with two of its members, becoming their publicist, and generally making a mess of things in a way that feels less like a coming-of-age arc and more like real life. There’s no grand epiphany here, no moment where everything clicks into place. Just a series of small, often humiliating realizations that maybe you don’t have it all figured out.
I’ve been thinking about the way Grace Pine cries in her office at night. Not the kind of crying that announces itself—no heaving shoulders, no dramatic gasps—but the quiet, defeated kind, the kind that happens when you’re alone and the motion-sensor lights keep flickering off, leaving you in the dark before you can pull yourself together. It’s a small moment in Mile End Kicks, but it’s the one that lingers. Maybe because it feels so real. Maybe because it’s the kind of thing you don’t usually see in movies about young women: not a breakdown, not a breakthrough, just a slow unraveling in the dark.
Chandler Levack’s second feature is a film that wants to be messy. It’s set in the summer of 2011, a time when the internet still felt like a series of rooms you could wander into and out of, when indie rock wasn’t yet a Spotify playlist but a scene you had to show up for. Grace (Barbie Ferreira) is a 24-year-old music critic who moves to Montreal to write a book about Alanis Morissette’s Jagged Little Pill, a project that sounds ambitious until you realize she’s mostly just trying to figure out what she’s doing with her life. She’s smart, she’s funny, she’s a little lost—and she’s played by Ferreira with a vulnerability that makes you root for her even when she’s making bad decisions. (Which, let’s be honest, is often.)
The film is often compared to Almost Famous, and the comparison isn’t unfair—both are about young women navigating the male-dominated world of music journalism, both are steeped in the nostalgia of a pre-social-media era. But where Almost Famous is a love letter to the romance of rock ‘n’ roll, Mile End Kicks is more interested in the hangover. Grace isn’t just covering a band; she’s sleeping with two of its members, becoming their publicist, and generally making a mess of things in a way that feels less like a coming-of-age arc and more like real life. There’s no grand epiphany here, no moment where everything clicks into place. Just a series of small, often humiliating realizations that maybe you don’t have it all figured out.
Audience Opinions
AI summary of viewer review patterns
Audience 5.6/10 AI
"A charming but uneven music-driven romance with standout moments that don’t fully cohere."
The film’s musical elements and lead performances, particularly Barbie Ferreira and Devon Bostick, earn praise for their energy and authenticity, offering a vibrant snapshot of Montreal’s indie scene. However, the story struggles with pacing and a lack of depth in its supporting characters, leaving some viewers wanting more substance behind the style.
What viewers praise
- Strong lead performances Barbie Ferreira and Devon Bostick deliver engaging, natural performances that anchor the film’s emotional core.
- Vibrant musical elements The soundtrack and musical sequences are highlights, capturing the spirit of Montreal’s indie music culture.
- Authentic setting The portrayal of Mile End’s artistic community resonates with viewers familiar with the locale.
Common complaints
- Uneven pacing The story meanders at times, making it hard to stay fully invested in the narrative.
- Underdeveloped side characters Supporting roles feel thin, lacking the depth needed to complement the leads.
- Familiar tropes The romance and music-driven plot rely on well-worn formulas, limiting its originality.
Recommended for
Indie music lovers Montreal culture enthusiasts Rom-com fans seeking fresh faces Barbie Ferreira fans
Full Plot (Spoilers)
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Buzz & Rumors
Public reports AI-researched entertainment notes
Behind the Scenes of Mile End Kicks: Chandler Levack’s Personal Comedy-Drama
Mile End Kicks (2026) is shaping up to be one of the most anticipated Canadian films of the year—a coming-of-age romantic comedy with a deeply personal touch. Directed by Chandler Levack, the movie blends music, youth, and Montreal’s vibrant culture, drawing from Levack’s own experiences before she became a filmmaker and music critic. With a stacked cast led by Euphoria’s Barbie Ferreira and Orphan Black’s Devon Bostick, the film has already generated buzz for its raw, imperfect portrayal of twentysomething life.
A Director’s Personal Journey
Levack has described Mile End Kicks as a labor of love, pouring her own young adulthood into the story. The film follows Grace Pine (Ferreira), a woman who moves to Montreal in 2011 with dreams of writing a book about Alanis Morissette’s Jagged Little Pill 
. The setting and themes reflect Levack’s background, making the project feel like a creative homecoming.
In interviews, Levack and her cast have hinted at the film’s emotional core. "It’s a deeply personal one for me," she told FilmSpeak, discussing how the project allowed her to reflect on her past . The director’s blend of humor and vulnerability has become a signature of her work, and Mile End Kicks appears to be no exception.
The Cast’s Take on Imperfection
Ferreira, known for her role as Kat Hernandez in Euphoria, has been vocal about the film’s themes of self-discovery and embracing flaws. At SXSW, she and the cast discussed how Mile End Kicks captures the messy, "completely imperfect" reality of being in your 20s . The movie’s 94% Rotten Tomatoes score (as of early screenings) suggests audiences are connecting with its authenticity [4].
Bostick, who plays a key role alongside Ferreira, has also praised Levack’s direction, calling the film a "very exciting moment for Canadian cinema" [1]. The ensemble cast—including Stanley Simons, Juliette Gariépy, and Jay Baruchel—brings a mix of indie charm and comedic timing, further elevating the story.
**What’s Next for Mile End Kicks?**
While details about the film’s release and distribution remain under wraps, early reactions suggest it could be a breakout hit. Levack’s previous work has earned her a reputation for blending personal storytelling with sharp humor, and Mile End Kicks seems poised to continue that tradition.
For now, fans are left with tantalizing glimpses: a director mining her past, a cast embracing imperfection, and a story set against Montreal’s iconic Mile End neighborhood. If the buzz is any indication, this film could be a defining moment for Canadian indie cinema.
Entertainment rumors and trivia aggregated from public reporting. Treat speculation as unverified unless a cited source confirms it.
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