Director Mike Mills is no stranger to sharing his personal life onscreen . While his 2016 film 20th Century Women explored the complicated relationship with his mother , 2009 ’ s Beginners told the story of how his real-life father came out in his seventies , played beautifully by the late Christopher Plummer .
Mills ’ latest venture , Come On Come On , explores the unique bond between an uncle , Johnny ( Joaquin Phoenix ), and his nine-year-old nephew , Jesse ( Woody Norman ). Shot entirely in black and white , this film explores what it means to listen — especially to children . Johnny is a single and childfree New York-based radio journalist whose current work involves interviewing kids , asking them about their hopes and fears for the future .
When he gets a call from his LA-based sister Viv ( Gaby Hoffmann ), asking him to temporarily take care of Jesse while she
© DCM
Come On , Come On ***** USA 2022 Opening March 24 , 2022
Directed by : Mike Mills Writing credits : Mike Mills Principal actors : Joaquin Phoenix , Gaby Hoffmann , Woody Norman , Scoot McNairy
tends to her ex-husband ( Scoot McNairy ) who is suffering from bipolar disorder , Johnny ends up taking Jesse on an impromptu road trip across the US , even to New Orleans .
Although Mills gives us several glimpses into what it ’ s like for Viv , dealing with her troubled ex , the story ultimately revolves around Johnny and Jesse , letting us watch their relationship unfold in real time . It ’ s also revealed that Johnny and Viv are only recently on the mend , having had a falling out after the recent death of their mother .
Throughout the film , Johnny repeatedly tries to turn the mic on Jesse , asking him to share his own thoughts on life . It isn ’ t until the very end that we get to see the strong-willed , yet sensitive Jesse acquiesce to his request , filling the audience with plenty of emotion .
With a dynamic soundtrack ( everything from opera to Lou Reed ), this movie reminds us to really slow down , li sten , and cherish those closest to us . ( Erin Huebscher ) is mistrustful , skeptical , and seethes as praise is heaped on Rahim . The plot thickens when simple actions cast doubts ; twopenny advice flows . Rahim ’ s impenetrable smile slips ; he frets over his young son ( Farrokh Nourbakht ). As well , Bahram is incensed , since the unpaid debt effects daughter Nazanin ’ s ( Sarina Farhadi ) dowery . Unremitting frustration compels Rahim ’ s repeatedly rash actions , although it is a confrontation with Bahram that sends his life spiraling uncontrollably .
Farhadi has cobbled together a working-class morality tale that swelters under intense sun , crowded streets , and the screenplay ’ s sometime incongruousness . The cast is formidable ; Amir Jadidi and Mohsen Tanabandeh ’ s sparked discord is compelling . Some scenes seem stilted , or squeezed in to fit the overall action . Production values are solid from cinematographers Ali Ghazi and Arash Ramezani , editor Hayedeh Safiyari , sound mixer Mohammad Reza Delpak , and set designer Medhi Moosavi . Scrutinizing each simple act causes one to pause and consider the bureaucratically created “ Catch-22 ” situation — how can someone repay money when they cannot work ? A Hero ’ s premise is one too many are familiar with . The film is Iran ’ s submission for the Ninety-fourth Academy Award for Best International Feature Film . 127 minutes ( Marinell Haegelin )