Fascinating movie

Come on, come on (2021) – movie review


go! Go on, 2021.

Written and directed by Mike Mills.
With Joaquin Phoenix, Woody Norman, Gaby Hoffmann, Scoot McNairy, Molly Webster, Jaboukie Young-White and Sarah Klein.


A radio journalist embarks on a trip across the country with his young nephew.


There are real concerns about the future of the planet and the emotional struggles of a fictitious family separated in the multilevel road trip and poignantly observed from writer / director Mike Mills go! Go on. What pressing global issue depresses a variety of children interviewed of all ages, often providing a piercing insight given the documentary-style radio casting approach, as the uncle / nephew duo (masterfully played by Joaquin Phoenix, with relative newcomer Woody Norman stealing hearts as a socially awkward nine-year-old trying to figure out the darker aspects of the mom and dad relationship) travels through the metropolises of the hotspots of the United States for as many perspectives as possible (the film also does not take place during any ongoing pandemic form despite numerous timely confessions).

Johnny (Joaquin Phoenix) tries to come to terms with his sister Viv (Gaby Hoffmann, offered a surprising amount of character depth as she learns how to be the best mom possible for a son who enjoys playing a role as an orphan. ) after a seemingly nasty argument over the death of their mother with dementia. Naturally, he’s curious if he can come to Los Angeles and visit, wondering if Jesse has any memories before the tumultuous times. Viv’s difficult marriage to husband Paul (Scoot McNairy, mentally ill, not monitoring any tics or turning the performance into a caricature, whose life has been plunged into chaos which he cannot handle due to job changes and a dramatic personality change that requires an eye on him at all times).


With Viv in Oakland to defuse this position, Johnny takes Jesse to New York on business. And while a lot of comedic shenanigans ensue, it’s the situations they take place in that add a clever touch to the usual tropes such as fitting in or recognizing when things aren’t going well, but here without wrapping up the current terrors. of the world. It is also evident that Johnny is not fit for guardianship, that he is not sure how much sugar to give the boy, or during pessimistic inquiries as to why his uncle is not. married or what exactly happened between his parents. Devastatingly, Jesse is also a boy that neither his mother nor his uncle could figure out how to properly care for emotionally (he seems anxious and is weird at times), which turns out to be a teary-eyed conversation for anyone, especially for those who can relate. The same goes for captioned text chats with Viv, displayed onscreen in a standard font without any unnecessary or unnecessary stylistic flare. Monochrome cinematography remains paramount for the magnificent look of the film.

The humorous lines also fascinatingly benefit from the audio tricks, sometimes playing with the microphone or little catchphrases that essentially tie each wire together (whether it’s the growing uncle / nephew bond or how society moves forward in a world as dark). Several monologues tap into the hellish kitchen of parenting (at times, through Johnny’s frustrations, the script seems to weave subtle hints that, despite being centered on an uncle, go! Go on is secretly a keen eye on the trials and tribulations of motherhood).


go! Go on also uses Johnny’s framing device asking kids depressing questions to brilliantly point out that while there are many fun back and forth between Johnny and Jesse (never cross an unnecessarily rude line, always containing F-bombs and sensitive gazes on different mental struggles), the story is of a pure and assertive heart. Just as humor in real life can take away the issues and pain around us, go! Go on fundamentally understands this at its core while also expanding more and more into the suffering of the world behind it, a background that is as emotionally gripping as anything else in the movie. Her black and white photography suggests a life of happiness and promise, but the characters never give up on breaking up and connecting.

Through it all, Joaquin Phoenix and Woody Norman are mesmerizing, delivering both genuinely heartbreaking tricks and charmingly oddball balls. The only downside is that some subplots resolve easily and are unsatisfactory. The future might well be screwed up, luckily, with go! Go on, Mike Mills knows how to unravel this mess in an undoubtedly moving cinema.

Evaluating the Flickering Myth – Movie: ★ ★ ★ ★ / Movie: ★ ★ ★ ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the editor of Flickering Myth Reviews. Check here for new reviews, follow my Twitter Where Mailbox, or email me at [email protected]