Heartland: C'mon C'mon

Mike Mills' third film is a grounded and earnest study on parenthood with knockout performances.

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Mike Mills specializes in making his films feel grounded in realism, raw and human, and deeply personal. Mills has gone on the record claiming that his last two films are love letters to his family; “Beginners” was about his father coming out as gay after his mother passed away and “20th Century Woman” was an ode to his mother and his sisters. “C’mon C’mon” follows a similar route, which Mills claims was inspired by his relationship with his own son.

“C’mon C’mon” centers around Johnny (Joaquin Phoenix) an artist whose latest project involves traveling the country with a crew and interviewing children about their world views. Johnny has a strained relationship with his sister Viv (Gaby Hoffman) particularly after the two had to care for their dying mother. When a family emergency occurs, Viv asks Johnny to care for her 9-year-old son Jesse (Woody Norman). The two start to form a strong bond with one another as Johnny learns what it means to be a parent.

After his Oscar-winning turn in “Joker” Phoenix gives a scaled down performance that shows just how broad his range as an actor actually is. Phoenix is clearly one of the most talented and versatile actors in the business but he certainly has a reputation of playing atypical characters or larger than life figures.

That’s not to say Phoenix hasn’t done grounded roles, but his performance in “C’mon C’mon” may be his most successful. He feels deeply human in the role and at times relatable. Hoffman is excellent as well in her supporting role, despite not having as much screen time as her two co-stars, her performance is heartbreaking and holds her own against Phoenix.

The true star of the show is Norman, who gives one of the best performances by a child actor ever to grace the screen. In a time where it seems that the filmmakers don’t seem to be in touch with the younger generation, Norman’s Jesse feels like an actual kid. Even in his more emotional moments, Norman carries himself in a way that not even veteran actors are capable of. Norman’s chemistry with Phoenix is undeniable and is the true beating heart of the film.

Mills’ direction basks in realism, he lets every moment play out naturally and even integrates unscripted moments with the interviews and allows improvisation between the actors. Mills is deeply in touch with the characters, treating them as if they are real people and treats them with compassion. There’s a feeling of earnestness and brutal honesty, Mills lets the audience know right off the bat that these characters aren’t perfect, but it’s the grounded nature of the film that lets viewers relate and have empathy.

The choice of having the film be black and white could have easily come off as a gimmick, but that isn’t the case with “C’mon C’mon”, it perfectly compliments the themes and ideas presented in the film, almost making it feel as if the film was being made my Phoenix’s Johnny. Robbie Ryan’s cinematography is also stellar and makes the film’s urban settings feel lush and big but simultaneously quaint. The first act’s slower pacing may turn off some viewers, but once the bond between Phoenix and Norman starts to really take off it’s hard no to be deeply invested in the overall film.

“C’mon C’mon” is an absolutely beautiful film that’s truly one of the most poignant films of the year. It’s never too sappy nor is it grim and depressing; it’s a film that takes pleasure in the simple things in life.