C'mon C'mon

We haven't seen an uncle film this good since Uncle Buck. It's naturalistic, never melodramatic, but lacks Phoenix flipping a huge pancake with a shovel.

The writing and direction from Mills, the entirely convincing performances by Phoenix and Norman and their excellent chemistry make this drama about interacting with kids and the bond that a man forms with his nephew both engaging and endearing.

Dull and cute and full of its off-handedness. But New York is photographed beautifully, as is everything else (a dream within a dream comes to mind), which makes me regard this project not as a drama but as a meditation piece on a family behaving in wide-open America. You can let it run in the background and miss nothing.

Fascinating concept which does succeed in evoking big questions and conversations; among the biggest, the view of the present and future among young people. Joaquin and Gaby are so very masterful; between that and the black & white presentation, this appeals to me in obvious but effective ways. A character-driven passion project for director Mike Mills that places its relationships - and how they evolve - front and center, this might be the movie that stays with me the longest from this year.

"Uncle Joaquin Who Can't Recall his Past Lives Because Forgetting Beloved Memories is a Part of Growing Up"

Maybe Mills weakest attempt, because he isn't in touch with the dark parts of this world enough. They get brushed away too easily for my taste, so the whole movie feels forced and out of touch with itself at times. I still love Mike Mills! The way he tries to make sense of the world is very compatible with mine and I'm grateful for his presence in my life, his love for humans and mothers in particular. Also, if THIS is a weak movie for your standards, you've established one hell of a standard.

Very well acted, beautifully shot,... mindbogglingly boring. The kid gets annoying pretty fast (which I guess is somewhat intentional). I felt this movie was repetitive, aimless and not as profound as it thinks it is. But I don't particularly care about children or parenthood so maybe I just didn't get it.

That kind of early 00s walking and talking kind of indie drama for the era of podcasts supposedly more profound than books or whatever. I mean, the kid is great, Phoenix is good, but Mills' direction is just meh. Some points for Dessners' subtle score.

These people need a TV in their life.

Noah Baumbach could never.

Torn between an excellent cast and ver good directing, but a story build around a false premise, in my opinion, and a script that felt like a first draft. I’d like to see these people in something else.

It's like the music video of love the way you lie by Eminem ft. Rihanna. Joaquin Phoenix thinks he's still Joker.

Like 20th Century Women, I found this warm and endearing with a careful measure of prickliness. Phoenix was great in the role, and newcomer Norman delivers what feels like a really honest performance and totally sells a screenplay that might have fallen flat in the hands of a lesser talent. That said, Hoffman is the cast stand-out for me; in many ways, her character and performance encapsulates everything this movie is trying to say about parenthood - the love, the hurt, the joy, the mess.

Is this a celebration of neurodivergent individuals and the stoicism of single mums? If so, it's lame. It's also pretentious. But the music is good and there are moments here and there to do with children's visions of the future that do speak to something of substance, and that is the Anthropocene.

Mike Mills might just be the master of transitions. The way he combines images with music is just so flawless and natural. His transitions create such a seamless flow to his films. Phoenix is great as usual. Hoffmann and Norman were also surprisingly great. Yeah its a little slow at times, but add in some outstanding cinematography and you have a really special film.

Lovely story. Loved the interview segments, would like to see the finished product.

The interview parts felt so real and natural, it makes you wish the interaction between Phoenix and that bratty kid was as unscripted, as it would’ve made the story much more authentic and honest. -1 for Clair de Poop

This is a really touching film about a relative suddenly having to take on his siblings young child and the ability of people to talk about their worries, feelings etc. It's kind of hard to describe but I thought it was quite touching and poigant and Joaquin Phoenix gives a great lead performance, alongside the child played by Woody Norman. It's lovely seeing the two get along together, share some funny moments etc.

audiovisual 79 acting 80 overall feeling 62 avg 74

Has some moments where it dives too deep into cloying cliche but mostly manages to reveal some truths about the loneliness of the 21st century.

& gamze

Well-tread waters feel new and unexplored in the hands of Mike Mills, who provides a more sensitive modern day Kramer vs Kramer. Boldly intimate and always honest, this is flipping through a family album and feeling awash with that coziness, that laughter, all those memories of when we hurt and love each other.

Ionlylikethekidinterviews-themompoem-andhermotherlycomplaintslol

Describes the life of a journalist and his ex-girlfriend. When she faces some problems he is asked to take care of her son for a while. He starts developing a relationship with the young boy which is very true, honest and sentimental. Very good movie showing the difficulties of raising a child and how parents treat them with their own ways.

It is a beautifully filmed cute movie but I am so sorry that I really hate movies with harmless annoying kids.

Oldukça sade, tatlı ve sakin bir film olan C'mon C'mon Phoenix-Norman ikilisinin doğaçlama sahnelerine de yer vermesiyle unutulmaz ve doğal anlar yaşatıyor.

I've come to this film because i loved Mike Mills's "20th Century Women": a very heartfelt and delicate movie, full of life, with great performances, even if sometimes artsy for the sake of it. Everything rings true also for "C'mon c'mon", it's just that here the screenplay it's not as good. The kid character it's wrote too smart and witty for his age, the interviews bits feel disjointed from the plot — unless the moral of the story is "we should learn from kids".

Might be a little bit too wholesome but not much. The depiction of generations trying to get in touch with each other comes with great sensibility and a calm yet engaging style. All the troubles are being taken seriously, but so are the tender moments where nobody can tell if they will actually have a lasting impact. I loved the scenes where the kid discovers the world through sound. The intangible vibrations in the air that don't last but move around us all the time work as a good metaphor.

easier to just say it's so so so good

It's hard not to find something in your mind that is more interesting than this beautiful filmed and well played movie.

Joaquin Phoenix, dayı olmuş. Bu sefer kız kardeşinin çocuğa bakıp dayılık görevini yapmış. Annesinin, babasının uyuyamama hastalığı yüzünden, 1 süre evden ayrılıp, çocuğuna bakmak için dayısına teslim ediyor. Dayısı da geçici olarak babalık görevini devralıyor. Joaquin Phoenix ve Woody Norman uyumu harika. Bu arada çocukların röportajı da yargı dağıtıyor. Filmin sonunda, aileler buluşuyor. Oğlan dayıya çekermiş.

Pleasant enough, but I'm already struggling to remember what exactly happened in it.

Brilliant Filming!!!

A very heartfelt and down-to-earth story, with a beautiful use of black and white. Phoenix is made for the role and Woody Normal gives an amazing performance, being only a child. This is one of those films you just want to watch in awe and not say anything.

I love films about small victories. Phoenix does not become a massively better person, but by being temporarily placed in Hoffman's role, he comes to think more about her perspective, partly by becoming closer to Norman, the most important person in her life.

It is great to watch an accurate critique of the present. Our only future promised is one spent remembering the moments with loved ones, both good and bad. Joaquin is beyond great for these character roles and the shots are a pleasant stream worth reflecting along side it's narrative.

The film quietly builds toward a third act that almost seems to come out of nowhere, at least emotionally speaking. The theme is timely--keep pursuing relationships with your people, persevering through the doubts and hurts, seeking forgiveness and showing up. I did find the kid insufferable at times. Boys of a certain age tend to be that way. Made worse by the trauma of his father's illness. I appreciated that the film recognized his need for growth as well. And yes to scores by the National.

Meaningful story of a uncle and nephew bonding, with highlights being far and few between for the viewer. More a well-meaning attempt than one that stands-out.

This movie made me want to be an uncle.

When we try to explore children's moods, perspectives and the world through their eyes, we becomes the ones who are actually discovered. C'mon C'mon presents adulthood and parenthood from a very specific perspective. The storytelling is both quite dramatic and way too sweet.

An absolute joy from start to finish. Thought provoking, sometimes extremely moving and well acted.

Metamodern masterpiece: form and content harmoniously work to convey the central avuncular relationship as representative of a larger, cultural oscillation between irony and sincerity, between lashing out and pulling in, between giving up certain of failure and uncertainly pushing on. The central conceit of the uncle interviewing kids provides several unique ways to explore cross-generational differences, and also becomes integral to the central relationship in a natural, unforced way.

5 minutes in and you just know this is going to be a great movie. Despite the initial annoying hipster feel.

well done