by Shane Conto, Staff Writer
Are you ready for the latest film to tackle the always challenging and complicated topic of autism? There is so much misinformation and ignorance thrown around in our society when it comes to autism, and film has a long history of horrific representations. Films like Music and Rain Man (no matter the quality of film) just do not appropriately represent this developmental disability. Now, writer Tony Spiridakis and actor-turned-director Tony Goldwyn give us their attempt to bring attention to autism with Ezra.
How do Goldwyn and his crew handle the representation of neurodivergence? Having a young actor with autism, William A. Fitzgerald, is the first big step for authenticity. His performance is quite affecting and delivers when the character of Ezra needs it. The way autism is depicted is in a wide range, which is true to life. Autism does not manifest in the same way for everyone, and Ezra possesses a wide range of behaviors and challenges. There are some harsh realities presented — it’s heartbreaking to realize they are realistic occurrences, even if Spiridakis exacerbates them and creates needless extra drama. After the first act, though, the film forgets a lot of the grounded elements of representation, and autism becomes another roadblock on a father/son road trip.
Does the actual narrative create space to truly explore autism and the challenges that parents and other concerned parties must navigate? Unfortunately, the film gives way to extreme narrative elements to create a huge disconnect. You must suspend so much disbelief when it comes to the litany of crimes that Max (our protagonist, Bobby Cannavale) commits. The film should not really go the way it does, but you have to shoestring as much of a happy ending as possible along the way. Much of the exploration into autism is just a bunch of dialogue dumps from the characters who are spelling out their feelings for the audience. Exposition is a dangerous yet essential thing for film, but this one just wants to pontificate. There are also elements that feel out of place, and whole scenes with new characters that feel oddly shoehorned in. The film is at least competently put together, which makes it easier to swell its outlandish scenario.
Outside of Fitzgerald, does the rest of the cast bring things together as well? Cannavale puts so much into his performance. While he is usually a tough guy actor, there are few times you see him shedding a tear or showing some serious sadness. He also is believable as a standup comedian in the moments he is performing, and you can feel the anger that is bubbling up underneath (in many scenes that are quite frustrating for the audience as well). Rose Byrne gets the thankless job as the nagging and “heartless” mother who wants to follow the rules when it comes to her son. But she makes the most of it and has some unhinged moments herself, along with some deeply moving moments with Ezra. Robert De Niro is quite good, as he balances some fun bits with his onscreen grandson, and there are some more serious moments alongside Cannavale and Byrne (even if the speeches are on-the-nose and clunky). Throw in the likes of Goldwyn, Vera Farmiga, Rainn Wilson, Whoopi Goldberg, and others, and you have quite the cast to bring this wild story to life.
Is Ezra a respectful and engaging exploration of autism and parenthood? It starts out that way at least. Once Max kidnaps his own son to go on a reckless road trip from the east coast to the west coast, the film loses a lot of the depth that it started off with. There are certainly some fun and emotional moments, along with some good performances, but this film takes too many wild narrative swings, undercutting weight. But to be honest, if you can get past some of the frustration, it overall is an easy and enjoyable watch.
Rating: It Was Just Okay
Ezra is currently playing in theaters
You can read more from Shane Conto, and follow him on Instagram and Letterboxd