Written and directed by Ari Aster and starring Joaquin Phoenix, Pedro Pascal, Luke Grimes, Deirdre O’Connell, Micheal Ward, with Austin Butler and Emma Stone, here’s a first look at the trailer for EDDINGTON.
In May of 2020, a standoff between a small-town sheriff (Joaquin Phoenix) and mayor (Pedro Pascal) sparks a powder keg as neighbor is pitted against neighbor in Eddington, New Mexico.
“A lot of these characters are dueling political ideas converging into different, isolated people,” Aster says. “I wanted to make a sort of American genre epic with updated archetypes. But it felt important that the movie be sympathetic to all of these characters and to their fears. These are normal people who are flawed, but who believe they’re standing up for what’s right, and what they’re feeling is not wrong, it’s just that it all comes out in really weird, distorted and frightening ways. There are deep structural inequalities that have always been here and they’re obviously still here. There is a terrible problem out there, and a lot of these right-wing conspiracies borrow from left-wing conspiracies of the 1960s and 70s, and the people who are gripped by them are not wrong and they’re not crazy. They’ve just been driven crazy by this system and the way that they’re haunted by it.”
“Sing hallelujah, come on, get happy… Get ready for the judgment day.”
From acclaimed writer/director/producer Todd Phillips comes “Joker: Folie À Deux,” the much-anticipated follow-up to 2019’s Academy Award-winning “Joker,” which earned more than $1 billion at the global box office and remains the highest-grossing R-rated film of all time.
The new film stars Joaquin Phoenix once again in his Oscar-winning dual role as Arthur Fleck/Joker, opposite Oscar winner Lady Gaga (“A Star Is Born”). “Joker: Folie À Deux” finds Arthur Fleck institutionalized at Arkham awaiting trial for his crimes as Joker. While struggling with his dual identity, Arthur not only stumbles upon true love, but also finds the music that’s always been inside him.
Opening in cinemas on October 4, check out the second trailer for the film.
The film also stars Oscar nominees Brendan Gleeson (“The Banshees of Inisherin”) and Catherine Keener (“Get Out,” “Capote”), alongside Zazie Beetz, reprising her role from “Joker.”
Phillips, who was nominated for Oscars for directing, writing and producing “Joker,” directed “Joker: Folie À Deux” from a screenplay by fellow Oscar nominee Scott Silver & Phillips, based on characters from DC. The film was produced by Phillips, Oscar nominee Emma Tillinger Koskoff and Joseph Garner. Lady Gaga served as music consultant. The film’s executive producers are Michael E. Uslan, Georgia Kacandes, Silver, Mark Friedberg and Jason Ruder.
Working with Phillips behind the camera are his team from “Joker,” including Oscar-nominated director of photography Lawrence Sher, production designer Mark Friedberg, Oscar-nominated editor Jeff Groth, and composer Hildur Guđnadóttir, who won the Oscar for her work on the first film.
New to the team is Oscar-nominated costume designer Arianne Phillips (“Once Upon a Time in… Hollywood,” “Don’t Worry Darling”). Ruder is the film’s executive music producer and the music supervisors are Randall Poster and George Drakoulias. Casting is by Francine Maisler (the “Dune” films, “Challengers”).
Warner Bros. Pictures Presents A Joint Effort Production, A Film by Todd Phillips, “Joker: Folie À Deux.” The film will be released worldwide by Warner Bros. Pictures, and will be only in theaters nationwide on October 4, 2024, and beginning internationally on 2 October, 2024.
The end-of-the-year awards contenders naturally include several biographical films, usually, they’re intimate tales of triumph and tragedy, such as NYAD and the upcoming MAESTRO. This holiday offering has that crossed with another genre, namely that it’s also a big sweeping historical epic. Fitting, since its subject made a huge impact on the entire world two centuries ago. In the director’s chair is a filmmaker known for such big, broad sagas, though he’s done several smaller dramas. And he’s comfortable setting his films in the far distant past and the far distant future. Here he’s flexing his considerable skills as he reunites with a former acting collaborator to tell the spectacular story of NAPOLEON.
It doesn’t begin with the title subject’s childhood, instead taking us right into France’s “Reign of Terror”, just in time for a royal appointment with “the blade”. Soon after, Lucien Bonaparte (Matthew Needham) encourages brother Napoleon (Joaquin Phoenix) to take command of the military forces and protect those now in power from the gathering angry mobs of citizens. From Paris, Napoleon, now artillery commander, is sent far away to end the British blockade of the ports at Toulon. After that violent battle, he returns to France where the son of a naval officer killed in the Revolution pleads for the return of the family sword. Breaking protocol, Napoleon personally returned the weapon to the lad’s home where he becomes enamored of the widowed mother Josephine (Vanessa Kirby), Napoleon courts and weds her while gaining more political and military power as he leads the forces of France in victories across the globe, even triumphing in Egypt. Eventually, he takes over the reins of royalty in his homeland, crowning himself Emporer of France with Josephine as his queen. Their marriage proves to be quite turbulent as she cannot bear him a male heir. This leads to a divorce, a remarriage to a much younger foreign royal, and a disastrous campaign in wintery Russia. Soon Napoleon is banished to the island of Elba, but homesickness prompts a return home and an effort to resume his conquests after earning the loyalty of his army. But this all may be dashed by the plans of the Duke of Wellington (Rupert Everett) as he makes a final stand at Waterloo.
Bringing his off-beat acting stylings to the title role, Phoenix makes several unexpected performance choices. This makes for an odd juxtaposition with the grand spectacles of the historical recreations. Perhaps this is an effort to make the story more contemporary for multiplex audiences, but it serves to distance us from the iconic military mastermind. With his hesitant line reading and guttural grumblings, Phoenix feels more suited to recent roles like JOKER and BEAU IS AFRAID than this leader who somehow inspires troops to rejoin him after exile. Perhaps his performance is meant to comment on the recent resurgence of arrogant thugs in positions of power, but we never get inside his head. Unfortunately, one of the screen’s most interesting actresses is given little to do, other than react to his cruelty. Ms. Kirby has given us superb performances in both “indies” and blockbusters, but here she was left to be “lady in waiting” and relegated to “broken breeder”, usually with a dead-eyed grimace as “her king” goes about his “business”. One of the film’s unexpected pleasures is the return of Everett as the haughty but determined Duke who barks out commands with a sneer as though having to “put down” the French “mongell” were a distasteful chore.
Oh, the previously mentioned filmmaker is none other than the esteemed Ridley Scott, who seems to be almost “returning to his roots” with this story’s setting harkening back to his first feature from 1977 THE DUELLISTS. Perhaps that’s why the sweeping battle scenes have so much energy, plunging us dangerously close to the warriors as they dodge bullets and cannonballs (the early equine carnage may haunt you). Those bloody battlefields are effectively grim and grimy, as the cavalry attempts to dodge the cadavers that litter the countryside. And there’s an effective use of extreme locations, from the sands of Egypt to Russia’s frozen tundra (an ill-timed December surge). But then there are the long stretches between campaigns as we must bear witness to the convoluted political chaos (there are some needed ID titles for the principals) and the bickering Bonapartes which devolves into one of the most ridiculous sequences at a fancy state banquet. Napoleon’s loud public complaints over Josephine’s infertility dengerates into a clumsy “food fight”.There’s never a sense of passion between them aside from his jealousy over his “possession”. It’s not helped when major historical incidents are glossed over and even discarded. Josephine’s matchmaker son vanishes, and we never hear the fate of Napoleon’s son by his second marriage. Perhaps they’ll be seen in Scott’s proposed four-hour-plus “cut” for AppleTV+. After slogging through this 158 minute mishmash of a film that’s so uneven, it’s tough to be interested in a chance of more clunky palace verbal sparring. It seems that the biggest battle is between Scott and the “all over the place” script that proves to be the true Waterloo for NAPOLEON.
Ridley Scott and Joaquin Phoenix are back together for the upcoming film NAPOLEON. The two worked together on the 2000 Oscar-winning Best Picture GLADIATOR, with Russell Crowe.
Napoleon is a spectacle-filled action epic that details the checkered rise and fall of the iconic French Emperor Napoleon Bonaparte, played by Oscar®-winner Joaquin Phoenix. Against a stunning backdrop of large-scale filmmaking orchestrated by legendary director Ridley Scott, the film captures Bonaparte’s relentless journey to power through the prism of his addictive, volatile relationship with his one true love, Josephine, showcasing his visionary military and political tactics against some of the most dynamic practical battle sequences ever filmed.
Here’s a look at the first trailer.
In April Apple Original Films announced that the historical action epic would first be released exclusively in theaters worldwide, in partnership with Sony Pictures Entertainment, on Wednesday, November 22, before streaming globally on Apple TV+.
Directed by Scott from a screenplay by David Scarpa, “Napoleon” stars Joaquin Phoenix as the French emperor and military leader. The film is an original and personal look at Napoleon’s origins and his swift, ruthless climb to emperor, viewed through the prism of his addictive and often volatile relationship with his wife and one true love, Josephine, played by Vanessa Kirby. The film captures Napoleon’s famous battles, relentless ambition and astounding strategic mind as an extraordinary military leader and war visionary. An Apple Studios production in conjunction with Scott Free Productions, “Napoleon” is produced by Scott, Kevin Walsh, Mark Huffam and Phoenix, with Michael Pruss and Aidan Elliott serving as executive producers.
Joaquin Phoenix as Beau in BEAU IS AFRAID. Courtesy of A24.
BEAU IS AFRAID – and confused and feeling guilty and often fleeing in panic, as he is caught in a world of bizarre events, in director/writer Ari Aster’s nightmarish fever dream of a movie, BEAU IS AFRAID. And mostly, Beau has mommy issues. This unsettling horror mind-trip, with a touch of darkest humor and surrealist fantasy, has the prefect star, that master of madness, Joaquin Phoenix, who plays an anxious, nervous man who might be prone to hallucinations who sets out to do a seemingly simple thing: visit his mother.
Craziness is afoot and there is plenty for Beau to be afraid of in Ari Aster’s BEAU IS AFRAID. The weird, imaginative and sometimes darkly humorous BEAU IS AFRAID is a squirm-inducing experience from a director who is scary good at creating unsettling movies, whose previous films MIDSOMMAR and HEREDITARY are striking examples of stylish psychological horror. While some films defined as horror are more bloody than actually scary, this is one that is truly scary, like the director’s previous two. BEAU IS AFRAID is masterfully-made, creative and often visually beautiful (particularly in a haunting fantasy sequence in the middle) and brilliantly acted, but it is a crazy, sometimes unsettling experience. While it is a creatively impressive film, it is not something for everyone, nor perhaps even an experience one would repeat.
Despite it’s nearly 3 hour length, it never drags and keeps up an almost breathless pace as the terrified Beau flees from one danger after another, and it is a tour-de-force performance by Joaquin Phoenix, with fine supporting work from Patti LuPone, Nathan Lane, Amy Ryan, Parker Posey and others.
In BEAU IS AFRAID, Beau Wasserman (Joaquin Phoenix), an anxious, solitary man, is just trying to travel to home to visit his mother, but is beset by a host of obstacles that evokes the trials of a modern odyssey. But unlike Odysseus’ travels to get back to his loyal wife and comfortable home, Beau’s destination is to visit a mother with whom he has a toxic relationship. Sort of Freud meets Homer.
Beau lives alone in a modest apartment in an impoverished, chaotic and crime-ridden area of a big city, one that seems to be a cartoonish version of all the violent stereotypes of a crime-filled New York. Beau is seeing a psychiatrist ((Stephen McKinley Henderson), who prescribes a new medication with a warning of side effects. This therapy session early in the movie gives us a glimpse into Beau’s troubled relationship with his strong mother (Patti LuPone), as her timid only child. Although the therapist questions the wisdom of Beau’s plan to visit her, Beau is determined to see his beloved mother, on his parent’s wedding anniversary, which is also the anniversary of the death of the father he never met. On his way back to his apartment, Beau stops at a street-side vendor to buy a little white ceramic figurine of a mother and child as a gift for his mother.
Visiting his mother seems such a simple thing but everything goes wrong that could. A series of unfortunate events, starting with an alarm clock that does not wake him, prevent him from catching his plane. Calling his mother, he gets a response that suggests Beau has been unreliable in the past, which both doubles his guilt and resolve to get home. But even more disasters ensue, as Beau tries to make his way through a remarkably malevolent world.
The film starts out with such over-the-top absurdities and dark humor, that the audience is forced to laughter. But the laughter becomes more nervous and uncomfortable as the film unfolds, until it fades away entirely in the later part of this journey of delirious horror.
Beau is buffeted by multiple horrific events which increase his fear and often his sense of guilt, and generally send him running in panic. At one point, he is essentially trapped in the suburban home of a seemingly well-meaning couple (Nathan Lane and Amy Ryan) who had accidentally hit him with their car, sharing space with their resentful teen-aged daughter Toni (Kylie Rogers), which shortly descends into an unexpected madness. A flashback to Beau’s youth, and a cruise with his mother in which the pubescent Beau (Armen Nahapetian) meets a girl (Julia Antonelli), gives insight on his toxic relationship with his mother (played at that age by Zoey Lister Jones), in a gorgeously-shot Freudian interlude.
The flashback is one of many with uncomfortable scenes skirting some disturbing stuff. The film purports to be an exploration of modern life and its challenges, and there are a host of awful forces surrounding Beau, starting with a crowd gather on a city street, who are urging a man on a skyscraper ledge to jump, and a corpse laying in the street, ignored, near his apartment, and later a deranged war veteran intent on murder pursuing him through the woods. But, for the most part, it is all about his mother. While the movie plays with stereotypes about overbearing Jewish mothers, Beau’s issues with his mother goes well beyond that and deep into creepiness – enough to make you wonder about the writer of this script.
Still, it is hard to overemphasize the impressive cinematic and visual artistry (from director of photography Pawel Pogorzelski) in this film, despite the squirm-inducing events taking place. One particularly impressive example of the visual artistry comes midway through the film, in a fantasy sequence that provides the audience (and the character) with a welcome break from Beau’s trials in the film. An escape into the woods leads to a magical fantasy sequence, in which Beau meets a traveling theater troupe and while watching their play, becomes a different character on a very different life journey, putting Joaquin Phoenix in a partly-animated and color-drenched landscape. This beautiful, creative fantasy sequence provides a respite from the terror of the Beau’s experiences and a relaxing breather for the audience, as well as the film’s highlight. After this delightful interlude, however, we come back to Beau’s nightmare journey.
Whether what is happening in this whole film is only in Beau’s imagination, whether it is all a nightmarish fever dream, the result of his new medication, a hallucination of a mentally ill mind, or some combination of those things, is never made clear in this crazy film. One has to admire the film’s artistry and the director’s skill and that of the actors but this film is an unsettling experience.
Casting Joaquin Phoenix for this role is the perfect choice, and in fact, the whole cast is impressive as well. Phoenix gives the kind of tour-de-force performance he is famous for, in this case, not as a villain but as a victim. Whether he is a victim of his own weakness, a mentally ill mind, a domineering mother, a series of unfortunate events or just evil afoot in the world, is not clear, but it sure falls hard on the unprepared Beau. Patti LuPone gives a powerful performance as Beau’s mother, a strong personality who has a host of her own issues, and represents some classic bad parenting. Nathan Lane and Amy Ryan play a weird couple who are obsessed with their son who was killed in the military yet ignore their angry teen-aged daughter.
At nearly 3 hours, BEAU IS AFRAID has all the earmarks of being yet another of those films that incubated during the Covid lock-down, joining a line of inward-gazing, and often long, films by major directors that were released last year and this. Among those are Alejandro Gonzalez Inarritu’s visually lush BARDO: FALSE CHRONICLE OF A HANDFUL OF TRUTH. BEAU IS AFRAID has several things in common with the rambling, surreal BARDO, but where that film is an imagined biography, here the major tone is terror.
BEAU IS AFRAID is impressive as cinematic art and a nightmarish psychological horror film that fits in well with director Ari Aster’s previous works HEREDITARY and MIDSOMMAR and features a perfectly-cast Joaquin Phoenix, but it is an intense experience that is not for every audience and one that is even more disturbing than the previous two. Frustratingly, nothing is really resolved in this story, although we do get the answers to a few questions, and little is really revealed about Beau’s or his mother’s inner life or motivations.
BEAU IS AFRAID opens Friday, Apr. 21, in theaters.
Apple Original Films announced today that the epic historical drama “Napoleon” from acclaimed director Ridley Scott will first be released exclusively in theaters worldwide, in partnership with Sony Pictures Entertainment, on Wednesday, November 22, before streaming globally on Apple TV+.
Directed by Scott from a screenplay by David Scarpa, “Napoleon” stars Joaquin Phoenix as the French emperor and military leader. The film is an original and personal look at Napoleon’s origins and his swift, ruthless climb to emperor, viewed through the prism of his addictive and often volatile relationship with his wife and one true love, Josephine, played by Vanessa Kirby. The film captures Napoleon’s famous battles, relentless ambition and astounding strategic mind as an extraordinary military leader and war visionary. An Apple Studios production in conjunction with Scott Free Productions, “Napoleon” is produced by Scott, Kevin Walsh, Mark Huffam and Phoenix, with Michael Pruss and Aidan Elliott serving as executive producers.
Momentum around the Apple Original Films slate continues to grow since the debut of Apple TV+ just over three years ago. In addition to Apple making history as the first streaming service to land the Academy Award for Best Picture with “CODA,” Apple Original Film “The Boy, the Mole, the Fox and the Horse” also recently earned the Academy Award for Best Animated Short. “Napoleon” will premiere alongside upcoming Apple Original Films including the broadly praised “Tetris,” which stars Taron Egerton and recently held its world premiere at SXSW; acclaimed documentary “STILL: A Michael J. Fox Movie”; feature documentary and Sundance selection “Underrated: Stephen Curry”; “Ghosted,” a high-concept romantic action adventure film starring Chris Evans and Ana de Armas; “Killers of the Flower Moon,” the upcoming film starring Academy Award winners Leonardo DiCaprio and Robert De Niro, as well as newcomer Lily Gladstone, from Academy Award-winning director Martin Scorsese; the star-studded spy thriller “Argylle,” with Henry Cavill, Sam Rockwell, Bryce Dallas Howard, Bryan Cranston, Catherine O’Hara, John Cena, Dua Lipa, Ariana DeBose and Samuel L. Jackson, and more.
Sony Pictures’ distinct commitment to exclusive theatrical windows has driven significant box office returns including that of hit films “Spider-Man: No Way Home,” “Venom: Let There Be Carnage,” “Uncharted,” “Where the Crawdads Sing,” “Bullet Train,” “The Woman King,” and “A Man Called Otto.”
Director Todd Phillips has released a first look at JOKER 2 starring Joaquin Phoenix.
The sequel to the successful JOKER film will be released on Oct. 4, 2024. Subtitled Folie à Deux (which translates to “madness shared by two”), Harley Quinn will be played by Lady Gaga.
The JOKER film garnered numerous awards and award nominations across all categories, among them: 11 Academy Award and BAFTA Award nominations—including Best Picture—more than any other film; two Golden Globe and Critics’ Choice Awards wins, and the Golden Lion, the top honor at the Venice Film Festival.
Joaquin Phoenix’s remarkable performance and composer Hildur Guðnadóttir’s haunting score won Oscars for Best Actor and Best Score.
In 2019’s JOKER, forever alone in a crowd, Arthur Fleck seeks connection. Yet, as he trods the sooted Gotham City streets and rides the graffitied mass transit rails of a hostile town teeming with division and dissatisfaction, Arthur wears two masks. One, he paints on for his day job as a clown. The other he can never remove; it’s the guise he projects in a futile attempt to feel he’s a part of the world around him, and not the misunderstood man whom life is repeatedly beating down. Fatherless, Arthur has a fragile mother, arguably his best friend, who nicknamed him Happy, a moniker that’s fostered in Arthur a smile that hides the heartache beneath. But, when bullied by teens on the streets, taunted by suits on the subway, or simply teased by his fellow clowns at work, this social outlier only becomes even more out of sync with everyone around him.
Directed, co-written and produced by Todd Phillips, “Joker” is the filmmaker’s original vision of the infamous DC villain, an origin story infused with, but distinctly outside, the character’s more traditional mythologies. Phillips’ exploration of Arthur Fleck, who is indelibly portrayed by Joaquin Phoenix, is of a man struggling to find his way in Gotham’s fractured society. Longing for any light to shine on him, he tries his hand as a stand-up comic, but finds the joke always seems to be on him. Caught in a cyclical existence between apathy and cruelty and, ultimately, betrayal, Arthur makes one bad decision after another that brings about a chain reaction of escalating events in this gritty, allegorical character study.
“To visit planet earth, you will have to be born as a human child”
From A24, C’mon C’mon,the moving story about the connections between adults and children, arrives April 12 on DVD and Blu-ray from Lionsgate.
From A24, C’mon C’mon, the moving story about the connections between adults and children, arrives April 12 on DVD and Blu-ray™ from Lionsgate. Written and directed by Academy Award® nominee Mike Mills (2016, Writing – Original Screenplay, 20th Century Women), the movie features Academy Award® winner Joaquin Phoenix (2019, Actor in a Leading Role, Joker), Woody Norman (TV’s “The War of the Worlds,” “Poldark,” “The White Princess”), Primetime Emmy® Award nominee Gabby Hoffmann (2015 and 2016, Outstanding Supporting Actress in a Comedy Series, TV’s “Transparent”), Scoot McNairy (Argo,Monsters, TV’s “Narcos: Mexico”) and Jaboukie Young-White (TV’s “The Daily Show,” “Awkwafina Is Nora from Queens”). C’mon C’mon will be available on DVD for the suggested retail price of $19.98 and on Blu-ray for the suggested retail price of $21.99.
Johnny (Joaquin Phoenix) and his young nephew (Woody Norman) forge a tenuous but transformational relationship when they are unexpectedly thrown together in this delicate and deeply moving story about the connections between adults and children and the past and the future, from writer-director Mike Mills.
BLU-RAY / DVD SPECIAL FEATURES
Audio Commentary with Writer-Director Mike Mills
Making “C’mon C’mon” Featurette
CAST
Joaquin Phoenix Joker, Gladiator, Her Gaby Hoffmann TV’s “Transparent,” TV’s “Girls,” TV’s “High Maintenance” Scoot McNairy Argo,Monsters, TV’s “Narcos: Mexico” Jaboukie Young-White TV’s “The Daily Show,” TV’s “Awkwafina Is Nora from Queens” and Woody Norman TV’s “The War of the Worlds,” TV’s “Poldark,” TV’s “The White Princess”
Read Jim Batts’ review of C’MON C’MON HERE. The Hi-Pointe Theater (1005 McCausland Ave in St. Louis), the best place in St. Louis to see movies! The Hi-Pointe has the best popcorn, the biggest screen, and a great beer selection! No reservations required at The Hi-Pointe. Just show up! Joaquin Phoenix in C’MON C’MONopens this Friday November 26th at The Hi-Pointe.There will be an advance screening November 25th at 7pm. The Hi-Pointe’s site can be found HERE
Joaquin Phoenix, Woody Norman (L-R)
Johnny (Joaquin Phoenix) and his young nephew (Woody Norman) forge a tenuous but transformational relationship when they are unexpectedly thrown together in this delicate and deeply moving story about the connections between adults and children, the past and the future, from writer-director Mike Mills.
With the first of the two big end-of-the-year holidays upon us, many theatres will be showing family films. And while most are of the “all ages” category (and yes, a big Disney animated one is on the way), this new release tackles the ups-and-downs of an often scattered, and a tad dysfunctional, family unit. For many single adults, the big “Thursday meal” is a chance to reconnect with the offspring of your siblings, to assume the moniker of “doting aunt” or “cool uncle”. You get to have some fun with the lil’ tykes, but you can hand them off to their folks when they become tired or cranky. The new film wonders how an adult reacts when they’re suddenly thrust into the guardian role. More than likely you’d resort to a familiar phrase while urging them to get ready for an outing or off to school: C’MON C’MON!
Near forty-something and single Johnny (Joaquin Phoenix) has a somewhat nomadic life as a roving “audio-journalist” for a major radio company. He travels from city to city interviewing youngsters (mainly) about their concerns and aspirations. During some “downtime” he’s surprised to get a phone call from his sister Viv (Gaby Hoffmann). Things became strained between the siblings during the last months of their late mother’s descent into dementia. Now Viv is in a bind. Her suburban LA lifestyle is in chaos after her bi-polar husband Paul (Scott McNairy) dashed away to San Francisco. She needs to track him down and get him back into therapy. However, she can’t take their nine-year-old son Jesse (Woody Norman) with her. And so Johnny agrees to stay with the boy despite his sometimes off-putting quirks (pretending to be a wandering orphan is a night-time ritual). . Unfortunately her trip doesn’t go as smoothly as she hoped, so Viv begs Johnny to stay a bit longer. Ah, but his duty/job calls and despite Viv’s trepidations she allows him to take Jesse on his return trip to NYC and later to New Orleans. And though Jesse’s fascinated by the audio gear, the two clash as he tests Johnny’s patience. Can he keep his…stuff..together as the wait for the big family reunion gets longer…and longer?
In his first feature after his Oscar-winning turn as THE JOKER, Phoenix imbues Johnny with a quiet stoic demeanor, one that masks what’s bubbling under the surface. We learn of Johnny’s recent breakup, which tells us that he’s just trying to move past it, to put his head down and do the work of living. And although his job consists of interviews, he’s not really connecting with anyone. It turns out that his family’s there to shake him out of his stupor. Phoenix shows us how Johnny is opening up as a surrogate parent, but he also conveys the panic and aggravations as his logical guy deals with the whims of his charge. And Norman as Jesse can be quite a handful, to say the least. There’s no hint of precious cuteness here. Yes, his lack of a filter can be amusing, but his stubbornness leading to risky behavior (he can vanish in a flash) is exasperating to witness. Then Norman shows us that Jesse has some big issues as he sees himself as an obstacle to his family’s healing. This is a kid just as complicated as the adults. He’s lucky to have Viv, who Hoffmann plays as a woman spinning so many plates as she tries to “fix” her and Jesse’s life. She believes herself to be Paul’s only lifeline as she struggles with guilt over leaving, just for a while, Jesse. Hoffman’s got the nurturing nature down pat, although we see her fiery temper as she tries to work through her past with Johnny. And although we mostly see him in sporadic and short flashbacks, McNairy seems vividly real as a man flaying in a spiral toward madness.
Writer/director Mike Mills brings a documentary-style intimacy to this look at skewed family dynamics. There’s no flashy storytelling flourishes as he uses Robbie Rayan’s haunting black and white cinematography to focus on the ever-changing relationship of Johnny and Jesse. There’s some splendid location work, especially in still-recovering New Orleans, and excellent use of literature to further the drama, with narrated book excepts with titles crediting the writers. And there are terrific interview sequences that feel as though the director and the actor (Phoenix’s having to really “think on his feet”) just want to see where the subjects will take them. These scenes augment and build on the evolving rapport between the two leads, whose conversations never feel plotted or strained. By the story’s end, it seems that both characters have grown and evolved. And they’re enriched, just as viewers will feel after taking in C’MON C’MON.
3 Out of 4
C’MON C’MON is now playing in select cities and will screen exclusively in the St. Louis area at Landmark’s Plaza Frontenac and the Hi-Pointe Theatre on Wednesday, November 24, 2021.
