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

In my 17 year history of reviewing movies, CODA must be setting a new record, in that I have never reviewed a movie this long after its release. This was released in theaters, and even streaming on Apple TV+ (as it still is now), on August 13—a good five months ago. In the “Before Times,” before the pandemic, if I didn’t catch a film in its initial theatrical release, I simply did not review it. Those were the rules—self-imposed, sure, but I stuck by them without exception for sixteen years.

The year 2020 changes a lot of things, of course, including this—and indeed, when I finally took up reviewing movies either streaming or VOD that had otherwise been originally intended for theatrical release, in the fall of 2020 after an unprecedented six-month hiatus, over time I wound up reviewing movies then that had been available for an unusual amount of time already. This increasingly became the case as I restarted my reviews in September 2020 but did not actually venture back into theaters until May 2021, which meant eight months straight of reviewing exclusively streaming or VOD content. For all I know, some of the films I reviewed in that period may have had their initial streaming releases five or more months prior to my reviewing them. But, I don’t think so.

My point is, I loved CODA so much that I felt it warranted this sort of exception, for its own sake. This isn’t a movie I’m reviewing because I can’t see movies in theaters. Granted, I am actively avoiding theaters again, temporarily, due to the current surge of the Omicron variant. But, this time it’s a choice I’m making rather than one imposed upon me—and although I had heard of CODA a while ago, my interest piqued after its recent two notable nominations for SAG Awards, including Outstanding Cast, that awards body’s equivalent to the Best Picture Oscar. The other is Best Supporting Actor, for Troy Kotsur, who plays the father of the family central to the story. Both nominations are well deserved.

All this is to say, CODA, which stands for Child of Dead Adults, is a movie you should see. It hasn’t aged past its moment. Its moment can still be right now, if that’s what you make it. Granted, it’s no longer in theaters and is only available on Apple TV+, which not everyone has. Most of the time, I don’t either. Just do what I do and sign up for a free trial month subscription, canceling immediately so you don’t get auto-renewed. Trust me, this movie alone will make it worth the effort.

I expected to enjoy CODA, and still it significantly exceeded my expectations. I had no idea it would be so funny. Technically it’s more of a dramedy, but it should be noted that I laughed a lot. High school senior Ruby (a wonderful Emilia Jones) is the only hearing member of her four-person family, and she loves music and singing and turns out to be very talented, which means, somewhat ironically for a movie revolving so much around deaf characters, CODA also features a fair amount of quite lovely music. I laughed, I was moved, I cried, I got to hear deeply affecting music. Really this film offers everything you could possibly ask for in a fantastic movie watching experience.

I suppose there could be some discussion about a film ostensibly about deaf people and how they integrate themselves into a hearing world, yet making a hearing person its central character. On the other hand, with three of the four principal characters being deaf and—thankfully—played by deaf actors, CODA offers a level of deaf representation rarely seen on film. It’s true we’ve gotten it before, but how often, particularly in mainstream films? Maybe, what, once or twice a decade?

We do get Marlee Matlin, always a welcome presence, as Ruby’s mom. Then there’s the aforementioned Troy Kotsure as her dad, and Daniel Durant as her brother, Leo. All of these characters, including Ruby herself who is hearing but also fluent in American Sign Language, are drawn as characters with nuance and dimension. In every other aspect, they are just regular people like any other, with hopes and dreams and fustrations and lusts. Director and co-writer Sian Heder has no pity for these people, because they don’t need any. Sometimes they have insecurities that are tied to their deafness, sure, but that’s never what CODA is about. The story here is about Ruby, who bridges the divide, caught between their expectations of her as part of an independent fishing family, and her awakening dream of pursuing a music education.

I have comparatively, somewhat mixed feelings about music teacher Bernardo Villalobos (Eugenio Derbez), who is written as a little over the top and then Derbez’s performance goes even a tad further over the top. He’s objectively entertaining, but he’s also the one character who feels more plausible in a movie than in real life.

But, that’s about as close as I get to any true complaint about CODA, which consistently surprises in its ample delights. I really can’t recommend it enough. If you’re looking for something to watch that will make you laugh, move you, and raise your spirits, you can’t go wrong with this one.

Overall: A-