Mid90s (stylized as mid90s) is a 2018 American coming-of-age comedy-drama skate film written and directed by Jonah Hill, in his feature directorial debut.

The cast includes Sunny Suljic, Lucas Hedges, Na-Kel Smith, Alexa Demie, and Katherine Waterston.

Influenced by filmmakers like Martin Scorsese and Spike Jonze, Hill aimed to authentically portray 1990s skate culture.

In 1996, 13-year-old Stevie lives in Los Angeles with his physically abusive older brother Ian and single mother Dabney.

Back home, he trades with his brother for a skateboard, brings it to the shop and befriends young skater Ruben, who introduces him to the rest of the group: charismatic leader Ray, loudmouth "Fuckshit", and quiet "Fourth Grade".

Ray consoles Stevie, telling him even though he thinks his life is bad, the other boys have it worse: Fourth Grade is poor to the point of not being able to afford socks, Ruben's mother is an abusive drug addict, Fuckshit's reckless partying is worsening, and Ray lost his younger brother, who was hit by a car a few years prior.

Ray hopes to make a career in skating and chats up two professionals as potential sponsors, but Fuckshit embarrasses him in front of the pros and Stevie is provoked into a brawl with Ruben.

[8][9] Influenced by filmmakers like Martin Scorsese and Spike Jonze, Hill sought to create an authentic portrayal of 1990s skate culture and the experience of youth at that time.

For example, Stevie's room started out messy with posters of Teenage Mutant Ninja Turtles, but was later changed to reflect his new individuality.

[24] Mid90s features an original score by Trent Reznor and Atticus Ross, as well as recordings by Pixies, Morrissey, Herbie Hancock, ESG, the Mamas and the Papas, Souls of Mischief, Nirvana, the Pharcyde, and various 1990s hip hop music.

The website's critical consensus reads, "Mid90s tells a clear-eyed yet nostalgic coming-of-age tale that might mark the start of an auspicious new career for debuting writer-director Jonah Hill.

[31] Owen Gleiberman of Variety called the film "a coming-of-age tale that's unvarnished enough to believe," specifying, "the fact that a star like Hill built this movie from the ground up, and did it with so much integrity and flair, lends it an undeniable hipster quotient.

"[35] Writing for The Hollywood Reporter, John DeFore said, "in emotional punch and shoulda-seen-this-coming skill, it is more like Hill's Lady Bird, a gem that feels simultaneously informed by its author's adolescence and the product of a serious artist's observational distance.

"[37] Connore Lagore of Vox Magazine said, "But despite some stop-and-go moments between the highest highs and the lowest lows, Hill crafts Mid90s into an ultimately charming nostalgia trip.

"[40] Some critical reviews called attention to the film's use of homophobic and racist slurs, as well as its treatment of toxic masculinity.

Sam Adams of Slate wrote, "The skaters' dialogue is liberally spiced with homophobic and occasional racist slurs, and while anyone old enough to remember the 1990s can attest to the accuracy of their omnipresence, the movie's inclusion of them feels like another cheap shortcut to verisimilitude.

"[41][42] Other criticisms cited a scene of juvenile sexuality between Stevie and Estee for its uncomfortable undertones given the ages of the characters and actors.