Directing: A
Acting: A-
Writing: A-
Cinematography: A
Editing: A

It’s tempting to say young actor Woody Norman, who was ten years old at the time of filming, is incredible in C’mom C’mon, the latest film by writer-director Mike Mills, and maybe he is. The use of a child actor is always tricky though, and I suspect a lot of the credit goes to Mills himself, his impeccable direction, and the editing by Jennifer Vecchiarello (who, incidentally, edited last year’s also-excellent Kajillionaire). On the other hand, young Woody Norman, who is now twelve, is apparently British and did accent work for this role, indicating that he has a far more nuanced understanding of the acting process than one might assume of a preteen. Well, that settles it then: Woody Norman is incredible in C’mon C’mon.

Still, it must also be said that Mike Mills is a name to remember. This is the guy who brought us both Beginners (2011) and 20th Century Women (2016). I don’t know if Mills has a recognizable cinematic style, and that is to his credit; I can only say that his films tend to range from very good to excellent. C’mon C’mon falls on the “excellent” end of that spectrum, which is clear very quickly after this beautifully shot, black-and-white movie starts. Why avoid any color, you might ask? My theory is that it so much more effectively puts its emotional component into sharp relief. This is a family drama, and also a story of an uncle bonding with his very young nephew—a kind of relationship rarely depicted onscreen, at least in terms of familial bonding.

It’s also wonderful to see Joaquin Phoenix in such a warm, sweet, and moving role, especially after being in garbage like Joker. Phoenix has long proved himself to be an incredibly versatile actor, but here he moves away from “larger than life” or quirky or even “romantic lead” in favor of “everyman.” His Uncle Johnny is a middle-aged, somewhat frumpy guy, focused on his work as a radio journalist as he avoids direct answers to his nephew Jesse’s questions about why he’s unmarried and alone.

Johnny’s sister, Jesse’s mother, Viv, is played by Gaby Hoffmann, and it’s easy to believe her and Phoenix as siblings who have been estranged since the death of their mother put a strain on their relationship a year ago. But, Viv’s separated husband (Scoot McNary) has mental health issues that require her attention, so Johnny offers to look after Jesse while Viv attends to her husband.

In the meantime, Johnny’s job has him interviewing teenagers all over the country, for his latest radio journalism project. I did find myself wondering how Johnny really makes a living doing this work, but perhaps that’s beside the point. C’mon C’mon’s production moves between so many cities Johnny effectively travels to four corners of the country: Detroit, Los Angeles, New York City, and New Orleans, four of the most truly distinctive cities in the country. In each city, he asks teenagers about their expectations of their future living in America, and these are real interviews conducted with real kids, seamlessly integrated into the narrative. The film is dedicated to one such kid who was later killed in a shooting, and its title card is the only moment in the film presented in color.

These interviews are sprinkled throughout this film about a childless man getting a crash course in parenting, which makes C’mon C’mon a uniquely sweet and deeply moving film. It made my cry, and not at all the way most other films do—it’s just because of its broad depth of humanity. There’s no reliable way to characterize this movie’s effectiveness. It just has to be experienced. I’m not a parent myself, but it’s easy to imagine how deeply affected those who are might be affected by this movie.

Ultimately, you night say, it’s about emotional vulnerability, within the context of the hopes and dreams we have for the very children that drive us crazy. This movie is very honest about parenting, and about what it’s like to deal with children, in a way that few movies really are. Jesse doesn’t exist to amuse, or be precocious, or serve as a plot catalyst in the way children typically are in film. He just is, and he exists as a wholly dimensional human being—as do Johnny and Viv. The characters in C’mon C’mon have a very naturalistic, casual existence. It’s how they are shot and edited that turns them into art.

And, without irony, that is what I would call this film: a work of art, and an unparalleled one at that. It’s unique in a way that the Academy rarely recognizes, and yet it’s easily one of the best films of the year. It’s only in theaters currently but presumably will be streaming soon, and either way, it should be seen at the soonest opportunity. C’mon C’mon is a tonal accomplishment that seeps into your pores, like a warm bubble bath.

*You’ll just have to trust me on how great this movie is.*

Overall: A