C'mon C'mon

2021

Drama

34
Rotten Tomatoes Critics - Certified Fresh 95%
Rotten Tomatoes Audience - Upright 79%
IMDb Rating 7.7 10 8940

Synopsis


Uploaded By: FREEMAN
January 02, 2021 at 12:35 AM

720p.WEB 1080p.WEB 2160p.WEB
1005.44 MB
1204*720
English 2.0
R
23.976 fps
1 hr 49 min
P/S 48 / 271
2.02 GB
1792*1072
English 5.1
R
23.976 fps
1 hr 49 min
P/S 86 / 526
4.87 GB
3568*2144
English 5.1
R
23.976 fps
1 hr 49 min
P/S 27 / 124

Movie Reviews

Reviewed by SnoopyStyle 7 / 10

small black and white indie

Viv (Gaby Hoffmann) cares for her hospitalized husband leaving her son Jesse (Woody Norman) in the care of her radio journalist brother Johnny (Joaquin Phoenix).

It's a small personal indie. It's in black and white. It makes everything more intimate and more indie. Joaquin is doing a more reserved character. Gaby's work is mostly done on the phone which is interesting. The kid is quite effective. The funniest scenes are Johnny trying to deal with an uncooperative Jesse. This film has its fun moments but mostly it's an intimate film of relationships. I do question Johnny's guardian instincts right from the start. It makes no sense to uproot a child from his home especially during traumatic times. I wish that his reasoning has something more compelling than his job. I don't sense that his job is worth that much anyways. All in all, this is an interesting small indie.

Reviewed by Quinoa1984 8 / 10

Blah Blah Blah

Firstly, it's simply... swell to see Joaquin Phoenix in a role like this. And it doesn't mean this man Johnny (or Uncle Johnny as his role here) has all his crap together emotionally or knows totally what he wants out of his life, or that of course he has a good bit of grief over a dead parent (mostly alluded to but we get enough of the gist to know there's pain there, as if the sad beard wasn't enough). But compared to his more recent work (we know the one), here he gets to vibe for a while with a totally delightful kid via Woody Norman, the kind of role that I hope is just this but I doubt it, he has too much natural charisma and forgive the wording spunk, and that's enough really to make it a worthwhile and even in its narrow ambitions kind of special.

It feels perhaps slightly, uh, twee or somewhat precious in those documentary snippets with Johnny asking the Big Questions of What's the Future and What about Nature and so on, like I'm seeing snippets from one of those New York Times Shorts that plays before movies at the IFC Center (that's not meant entirely to be a put down, just what it is), but even that makes for fairly interesting additions to the main meat of the movie which is watching this man and this child bond and sometimes bicker and sometimes grow closer and then apart and then have moments where Johnny gets the kid to yell out his feelings, and it's all presented in this lovely, semi-poetic stream of scenes as opposed to a traditional narrative.

This doesn't mean there isn't a strong emotional throughline due to the mom and her back and forth with her brother (Gaby Hoffman, who I can't recall in a movie in a long time and is absolutely wonderful and moving and is acting her tuchus off and matching Phoenix and possibly besting him as he coasts on the sad beard, sorry I can't help but bring it up again), or what the past, present and future of the kid's father, mom's bi-polar husband, dealing with all his mental health, and all of that baggage in the mix.

In short, Cmon Cmon I can see being the sort of film you do need to be in a certain mind frame for, with its luscious black and white cinematography and Mill's knack for juxtaposing moments with the voice over and then Johnny's own reflection on a day's events by himself with his microphone (basically doing a slightly more clever form of voice over) and all of the feelings being wrestled with.

What I responded to was just how pure and simple and yet not so simple this relationship is shown, and that it can be difficult to make a child be endearing in an adult drama and Mills even passable pulling it off feels like a miracle. It also has a good sense of depicting how a family tries to deal/be OK with someone so close with mental health disease (spoiler, it's hard and "better" never means over). And I can't stress enough how nice it is for Phoenix to have this guy to be in and all the time with this kid - it's almost like a vacation into semi-normalcy before he goes back to Ari Aster and Ridley Scott's Napoleon and all that jazz.

It's not a great film, but a very good one that's like a comfy set of Art Housr Pj's, one that may have been or just seemed more commonplace back in the 90s, and that doesn't mean it gets an extra bump in that sense but that to have a small, warm-and-dark intimate character study is unique more due to how theatrical distribution is presently. Oh, and what a superb needle drop for Velvet Underground and "Sister Ray!

Reviewed by CinemaSerf 7 / 10

Two perspectives weaved carefully together...

There is a distinctively documentary feel about this engaging observational drama that offers us a considered and thoughtful performance from Joaquin Phoenix ("Johnny") drafted in to look after his nephew "Jesse" (the super Woody Norman) whilst his mother "Viv" (Gabby Hoffman) tries to help her bi-polar husband "Paul" (Scoot McNairy). It's fair to say that "Johnny" is not what you'd call a natural with his charge, and it is equally clear that the young lad has some traits in his behaviour consistent with his father's illness - and so we now have to follow the two souls as they have to learn to accommodate one and other. There is something magnetic about both lead efforts here that reminded me a little of the "Peanut Butter Falcon" (2019) - not that the subject matter is the same, but in the way the characters develop and friendship and inter-dependency ensue that is sincere and enduring. I suppose there is little actual jeopardy in what eventually happens, but director Mike Mills makes sure that the trip we take with the two, as they follow the older man's journalism work to New York where "Jesse" must adapt to new people and scenarios and where "Johnny" must adapt to not being the only person in his life, are poignantly and frequently humorously presented to us in a delicate and enjoyable fashion. The monochrome photography adds a lovely richness to the look fo this film, and it is certainly worth a watch.

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