Come on, Come on

Nicely made, with a sweet and mellow story. Very much a slow burning movie, but not uninsteresting at the slightest. Great acting, good kid actor, and good execution. All in all a nice story and film

7/10: great.

Greetings again from the darkness. Not all filmmakers have something to say about human beings and human nature, but writer-director Mike Mills does ... and he continues to prove it. His three previous feature films are all excellent. 20th CENTURY WOMEN (2016) was based on his experience being raised by his mother, while BEGINNERS (2010) was a tribute to his father. THUMBSUCKER (2005) focused on teen angst, and his latest is inspired by interactions with his own son and Mills' documentary projects.

From the mouths of babes. Early on, we watch and listen as radio journalist Johnny (Oscar winner Joaquin Phoenix, JOKER, 2019) interviews kids in Detroit to get their opinions on all aspects of life and the world, including their hopes and expectations for the future. This and additional segments and the kids' responses seem real, not staged, presenting a documentary feel - especially since everything is filmed in Black and White. In a rare phone call with his estranged sister Viv (Gaby Hoffman, who will always be remembered as Ray's daughter in FIELD OF DREAMS, 1989), Johnny offers to take care of Viv's 9 year old son, Jesse (Woody Norman), while Viv assists Jesse's father, Paul (Scoot McNairy), who battles ongoing mental health issues.

Viv is reticent to leave Jesse with Uncle Johnny, an unmarried man with no kids of his own. But she's desperate for the help. Most of the film revolves around Johnny and Jesse spending time together and getting to know each other. Circumstances take the story from Detroit to New York City to Los Angeles to New York City to New Orleans. It's a terrific journey that lacks any jaw-dropping cinematic elements. These two aren't mountain climbing or spelunking. They simply walk and talk. This allows Jesse to experience a father-figure that's been lacking in his life. For Johnny, he gains a perspective on parenting, which contrasts with his professional work interviewing kids. Jesse is whip smart and funny, but also manipulative and confused and downright quirky. The two of them together is quite something to watch as their relationship develops.

Viv shows up mostly in phone calls with Johnny and Jesse, but flashbacks help us understand the emotional break that occurred between she and Johnny. As the two siblings mend their relationship despite the distance, Mills and cinematographer Robbie Ryan effectively use the black and white palette to negate the excitement of big cities and travel, so that we focus on the personal interactions of the characters. The photography may be beautiful to look at, but it also reminds us that to a kid, a city is a city is a city, and what matters is an emotional bond and sense of security.

Young Woody Norman is a revelation as Jesse. He perfectly portrays a normal kid with normal issues in a grown up world. Gaby Hoffman doesn't have as many scenes as we'd like, but we certainly wish she would work more frequently. As for Joaquin Phoenix, it's a welcome change of pace and tone after JOKER. He plays a man learning to deal with his own vulnerabilities, and he really gets to show off his extraordinary acting talent. The script is filled with psychology and philosophy, but in a grounded manner - ways we recognize from our own lives. It's a reflective film that shows the balance of trying to protect kids and shield them from some adult stuff, while also allowing them to explore and find themselves. The impact of adults on kids and the impact of kids on adults is on full display, but it's also just a couple of guys getting to know each other. And that's pretty special to watch.

The film had a limited opening on November 19, and expands to more cities and theaters on November 24, 2021.

A sweet, sad movie about a single man who learns a bit about how tough it is to be a parent when he takes charge of his nephew for a while.

Joaquin Phoenix is the uncle, and he's good, but it's Gaby Hoffmann, playing his sister, and especially little Woody Norman, as the nephew, who steal the show. It's the rare movie that takes children and their thoughts about the world seriously, and it also taps into the anxiety of raising children into a very uncertain future.

People are really responding very emotionally to this film if Internet film sites are any indication, and I can understand why, though it didn't personally resonate with me that much. It's the kind of movie that people bring a lot of themselves to and I imagine any one person's response to it will be greatly affected by their own circumstances in the moment. Though I guess that can be said of any movie anytime.

I did find it weird that, in a movie that's so about the anxiety of the times, there isn't a single mention of Covid. You never see people wearing masks, no one talks about it. This year I've really noticed the disconnect between movies set in present day and the world the way it actually looks right now. It's strange that filmmakers are completely ignoring something that is so dominating every single person's life and has changed the world as much as it has.

Grade: A-

"There will be so much for you to learn, and so much for you to feel. Sadness, joy, disappointment, and wonder."

Mike Mills' newest feature film C'mon C'mon follows a radio journalist, Johnny, that embarks on a cross-country trip with his young nephew, Jesse. If you've seen anything by Mike Mills, you know what you're in for. My first of his was 20th Century Women, a film I adore. His district style of making films about ideas and not story either works for you or doesn't. Once he has the idea down, and they're always well thought out ideas, he creates characters from there and they interact with the world around them as is to create a slice of life story. Once again, slice of life either works for you or doesn't. Depends if you want a heightened reality or see the world for how it is everyday. C'mon C'mon takes the idea aspect very literally. Johnny's current project is going around the states and interviewing children and preteens how they see the world and what they want out of it. I do have a Q&A link that I have yet to watch, but I believe Joaquin Phoenix and the crew actually went out and interviewed actual kids. Otherwise the screenplay is that amazing and these kids are masters at acting. The part was talked about in the Q&A so I guess I'll find out. Strewn throughout the film and the entirety of the credits is audio and video recordings of these interviews. It's a really down-to-earth idea that reminds us what we should be looking at when we see our future and the future for the next generation. The screenplay is truly incredible. Yet again, does Mills write in a way that comes off so natural that you don't even know if this is scripted or not. And he directs it so intimately. The use of black and white works well in its favor, capturing the rich tones we usually don't see with the naked eye. We're close to our characters at all times. Everything feels comforting. Even the way he captures each city makes it feel like a wonderful new experience. As usual, he references many texts and songs throughout for us to remember and search for ourselves.

Joaquin Phoenix finally won his Oscar for Joker almost two years ago. Personally, I think he got even better with this. Maybe it's me being one on subtle performances, but I felt a genuine human being that has found warmth and struggle in this newfound connection with his nephew. Being with him is cozy and calm, even in the most challenging moments. I think the real standout, though, is Woody Norman. When it comes to child performances, I think he just set a new standard. Not only is he British and you couldn't even tell if you tried, but he manages to embody this character to perfection. He's irritating, lovable, and all of those qualities you see within an eccentric child. His relationship with Johnny will make you laugh (he's absolutely hilarious) and cry at the best of times. Gabby Hofmann plays Viv, Jesse's mother, and though her role may be smaller, she's very good. All of the acting hits in a genuine way where you forget they're acting. This film is incredibly pleasing and has this unexplainable feeling that entranced me. Even in the slower moments and parts that felt insignificant to the plot, I enjoyed them. Every moment is meant to be cherished (yes that sounds like a Hallmark card). The very end, we have a grand monologue from Phoenix. I swear to you, it's one of the most beautiful things ever written. My eyes were dripping with tears and I was holding it together. Then, the last line hit and I just about started sobbing right there. A few other people in the audience lost it. But the screen went to black and the credits rolled. I managed to hold it together, but even half an hour after it was done (and even now), when I think about that moment I could just start crying. That's how you end a movie. C'mon C'mon captures emotion and life around us in a way like no other. I felt incredibly connected to the story and didn't want it to end. I'd love for most everybody to see this and hopefully feel as strongly as I do, because it's a visceral experience that everyone should have.

A really well made movie. Well shot, brilliant performances, good writing, but overall I wasn't swept away in this one.

For whatever reason, I was never invested in the story, it did start coming together for me a bit in the last act.

I found myself simply watching the movie and then aware of the acute annoyance of just watching it. Not feeling much, not experiencing much, just watching it.

Maybe that's a me problem? My girlfriend (who is far more emotionally and intellectually intelligent than myself and also has immeasurably better taste) said she kinda sorta felt the same way a little bit.

She said "maybe in ten years it'll mean a little more to us."

And I think she has a good point, this is very much about a man who falls into a parental situation and for my girlfriend and I, those are just about the last kinds of situation we're trying to find ourselves in.

So wouldn't that be a great hook for getting us on board? A single, career focused individual having to step up and be a role model and look after his nephew?

The problem is, Joaquin Phoenix as Johnny is just too good of a character, he makes so few mistakes as he just seamlessly becomes a great figure for young Jesse (Woody Norman). And even when he does make a mistake he's so quick to realize it and correct it.

I guess most of the turmoil of the film is what's happening with Jesse's mother and father, but we don't spend a ton of time with them.

For the record, I like Mike Mills other work, 20th Century Women was absolutely brilliant as was Thumbsucker.

I really enjoyed the black and white photography, and the filming locations are wonderful. We sprawl from Los Angeles, Oakland, New York City, and New Orleans. All great cinematic locations.

Overall, it's a good movie and I can see how this would mean so much to a specific audience member, I am also happy to see Joaquin put on some weight, after Joker, he was looking really unhealthy. But personally, it just didn't have the euphoric effect I get when I watch something that really speaks to me.

I'm not sorry.