“C’mon C’mon” Review: where Joaquin Phoenix plays a stubborn uncle in charge of a premature boy

Detroit. This is the last stop for Johnny (Phoenix), who travels to the country to talk to teenagers about the future. They know if the planet will be better or worse, things like that. He calls his sister Viv (Gabby Hoffman), who lives in Los Angeles.

It had been a year since their mother died. And that was as long as they had seen her or even actually spoken to. We get flashbacks of her mother with dementia in bed; Johnny and Viv bicker with screams, and if it’s just one word, the scene between them can confirm it.

Johnny asked about his nephew. Jesse (Norman) is now nine years old;

And according to her mother’s words of absolute affection, she was so foreign that she mainly was her detached self. And guess what, Viv needs someone to look after the kid for a while. Because his dad is in Auckland and he’s not very well, and he needs help. And we get more insight into how Paul (Scoot McNairy) what happened from a distance looks like a psychological crisis.

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So Johnny comes, Viv leaves, and Uncle finds out that his nephew is noisy on Saturdays. Even early mornings, and likes to pretend he’s an orphan. While pretending the adults in the room have kids who are all dead – you know? A common misconception of a nine-year-old.

Johnny dictates parts of his life on his recorder.

Such an audio diary can be difficult to distinguish from his work. Jesse is interested in recording equipment but prefers to wear headphones and hold a microphone in one hand. So we learn that after a long-term relationship broke up, Johnny was alone. In the end, he didn’t talk much – and had no children.

The situation with Paul is prolonged because things like this happen often, and everyone is in trouble. Viv has to stay in Auckland, Johnny has to go to New York for work (he also lives there). Jesse has to be somewhere where someone can shower him. and eat, for he is only nine years old.

He ends up making notes with Johnny, who does his best to make the kid eat spaghetti instead of ice cream and controls screen time and keeps his temper under control while he’s wandering the drugstore and Johnny freaks out, and it’s just a joke and has to see the look on Johnny’s face now. Johnny took out the microphone.

“We can go back. And I’m tired. So tiring. But it didn’t.”

Pound for pound, Phoenix is ​​one of the best actors in the game and a career defined by his intensity. The Master, Walk the Line, You’ve Never Really Been Here, come on, it can be the most delicate work.

At least you think and the freest, according to Inherent Representative. His portrayal here is catalyzed by Norman’s ill-timed development, which makes Johnny’s character soft, tired, magical, irritable, and loving.

Mills has used her personal life to inspire her best work – her father, who became gay at 75, inspires startups. The complexity of Annette Benning’s character in Women of the 20th Century is rooted in her relationship with her mother.

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After watching Come, Come on, it’s no surprise to learn that he is the father of a nine-year-old boy (with director Miranda Julie of Kajillionaire fame). Discover new wonders and curiosities about parent-child dynamics.

Through the suffering of Johnny Mills, he describes parenting as an act of determination, effort, and sheer intention. However, at times this requires skills that are refined with great precision and specificity.

The question is when to use the first or second, and the giant bear that Johnny fights is an action that Phoenix captures with great heart and humility: Johnny must use a broad sweep and be present to preserve the common good. Of child-creatures. But he also had to read from scripts he found on the internet to deal with the emotions of a nine-year-old’s well-developed brain – and Jesse did it for the poor guy, of course.

Although Norman is beautiful to look at:

Its premature maturity may be a problem for some viewers, and Mills tends to elevate the bittersweet emotional drama of the story into a literary gem, the kind of depth that results where every little moment radiates meaning.

But a child is not a horror, a handful or another joke that can describe a child who tests every thought. It is an average child who finds himself and a world without self-awareness. Which is a considerable burden to every adult to keep it clean, fed, cared for, comforted, cleaned and fed again.

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Mills abandons the traditional plot structure by simply confining a series of events that include Jesse’s farewell and reunion with Viv, which in itself is a unique celebration of the mother-daughter relationship. He underestimated dramatic developments because they were the kind that seemed small now but would become much more significant over time.

He also shoots the film in compelling black and white. He keeps returning to Johnny’s interviews with young people, mostly teenagers, who recognize the world’s complexities but always express hope and optimism. Despite the shortcomings and difficulties that have always been and will bring us, the world is a beautiful place.