by Foster Harlfinger, Contributing Writer

C’mon C’mon is a film that most audience members can enjoy, but only a fraction will love. Joaquin Phoenix stars as Johnny, a radio journalist who volunteers to watch over his precocious nine-year-old nephew Jesse (Woody Norman). As one might predict, Johnny and Jesse form an unlikely bond over the course of the film, though C’mon C’mon is able to transcend many of the expected clichés which typically reside in this familiar plot structure. The raw, honest dialogue from writer-director Mike Mills and the quietly beautiful black-and-white cinematography from Robbie Ryan allow C’mon C’mon to rise above most other films in the unlikely friendship sub-genre.

In a complete 180 degree turn, Phoenix offers another predictably excellent performance in this follow-up to his Oscar-winning role in 2019’s Joker. Though considerably more subtle than Joker, Phoenix’s ability to make pre-written dialogue feel spontaneous and organic is no less extraordinary. Gaby Hoffman likewise deserves considerable acclaim for her emotional performance as Johnny’s sister, Viv. The skillful acting in C’mon C’mon in combination with Mills’s brilliantly reflective and true-to-life dialogue create an emotionally raw experience, though the journey is more heartwarming and considerably less grueling than similarly themed films like Marriage Story and Manchester by the Sea.

In a film that lives and dies on the ability of its actors to bring Mills’ delicate screenplay to life, it may come as a shock that Norman, who turned 11 years old during filming, delivers the most impressive performance in the film. He easily provides the most natural child performance this reviewer has ever seen. Every line of dialogue, wide-eyed expression, and childlike mannerism feels completely and utterly real. But make no mistake: despite C’mon C’mon’s improvisational, slice-of-life quality, this is a performance. Should you choose to track down interview footage of Norman online, you will discover two things. First, Norman is wise beyond his years, preparing for his role with as much time and dedication as his veteran costars. Second, and I cannot stress this next point strongly enough, this kid is freaking British. The fact that Norman gives one of the most convincing American accents you’ll ever hear is simply the cherry on top of his already remarkable performance.

C’mon C’mon acts as Mills’s ode to the human experience as viewed through the eyes of a nine-year-old boy. To some, C’mon C’mon will be nothing more than a decent family drama with moments of occasional humor and emotion. To others, the film will be a deeply moving experience in which you are given the freedom to process your own feelings of joy, sadness, loneliness, and companionship. Though I fit firmly in the latter category, I recommend viewing the film for yourself to see where you land.

Grade: A-

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