by Jake Hjort, Contributing Writer
For an introvert like me, there aren’t many more horrifying premises for a film than being stuck in a cab with a nosy taxi driver who won’t stop talking. Thankfully for Daddio, a film that is almost completely contained within a taxi ride from JFK airport to Midtown Manhattan, its passenger (Dakota Johnson) is more open to the conversation with Sean Penn’s cabbie character than I would have been. Over the course of their 90-minute drive, Johnson and Penn engage in an impromptu mutual therapy session of sorts, discussing relationships both past and present, power dynamics between men and women, and shifting tides in technology.
If there is any one word which could be used to describe Daddio, it would be “intimate.” From the contained setting to the subject matter discussed, we get up close and personal with Johnson and Penn’s characters in every way, shape, and form. At times, this can be uncomfortable, as both characters—especially Penn’s—are a little crass and rough around the edges. Mostly, though, I found myself incredibly endeared to them. Due to the simple framing device and solid script from rookie writer/director Christy Hall, they feel like real people living authentic lives that we get to take a brief glimpse at.
Obviously, a film this intimate will only ever be as strong as its performances. Thankfully, both Johnson and Penn are doing great work. Penn is certainly giving the showier performance of the two, with a fun accent, strong personality, and monologues aplenty, but Johnson’s is the real standout to me. Her character, never named in the film, is a young, professional woman trying to navigate difficult romantic and familial relationships, clearly open for an eager yet largely anonymous ear to vent her frustrations to. Johnson really sells this turmoil in her performance, with a dichotomy between what she says (and sometimes texts) and the expressions on her face highlighting inner secrets and emotions she is trying to suppress.
Unfortunately, not everything in Daddio works. Penn’s character is, to be frank, a bit of a creep, and although I don’t believe the film is trying to paint this in a positive light, it isn’t exactly lambasted either, and there are some moments that made my skin crawl. Anecdotally, there were four other people in my theater when I watched the film, and two of them had walked out by the end, both during some of the more crass scenes, so this film certainly isn’t for everyone. There are also parts in which the conversation lulls and drags, and I, were I a passenger in the cab, would be checking my GPS to see how much longer I had to go.
Chamber films such as Daddio, those with minimal casts and set changes, can sometimes feel more like a proof-of-concept experiment than a full, cohesive movie. To its credit, Daddio mostly avoids this and feels like a full story with a beginning, middle, and end. Despite some meandering and icky moments, the great performances and strong direction take you on a journey with these characters, not just physically as they make their way across the New York City interstate system, but emotionally as well.
Rating: Liked It
Daddio is currently playing in theaters
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