THE SON – Review

With only 11 days left in the month, January cinema continues its two traditions. And no, it’s not about drafty theatres. As many moviegoers bemoan, the wintery time is often a “dumping ground” for flicks that don’t quite have the needed “hook” to send folks trudging through the snow to the multiplex. Last weekend’s big releases weren’t made available to us, though the previous week’s “biggie” M3GAN did well with the public and the reviewers. The other tradition is the release to smaller markets of serious “award bait” films, and this is one of three today. It’s got a big “pedigree” cast with a few Oscar winners. And it’s the follow-up to the writer/director’s big award-winner from a couple of years ago, so hopes are high that he’ll grab some more gold with THE SON.

As opposed to that former flick that was set “across the pond”, this story starts in modern-day NYC in a plush high-rise apartment building. As business exec Peter Miller (Hugh Jackman) hurriedly tries to get ready to leave for his job in another fancy locale, there’s a buzz at his front door. Though she’s tending to their infant son, his young wife Bess (Vanessa Kirby) peers through the door’s peephole” and is surprised to find the first Mrs. Miller, Pete’s ex Kate (Laura Dern). Opening the door, he admonishes her for not calling first, but she fires back that he’s not returning her messages. Kate is concerned about their teenage son after his school tells her that he’s not attending classes. So where is he going when he leaves for school in the morning? Peter insists that he’ll look into it, and he’s good at his word. After calling the school Peter meets with his son Nicholas (Zen McGrath). The somber sixteen-year-old says that he just doesn’t “fit in” and pleads to move in with Peter after too many clashes with his mom Kate. After a long talk with Bess, they move Anthony into a spare bedroom. Peter believes that he’s enjoying his new surroundings, but while he’s at work Anthony expresses his resentment toward Bess for busting up his parents. This leads to a father/son “blow-up” which sends Anthony into his school-ditching behavior. His deep depression erupts with an attempt at self-harm. Peter and kate must unite in order to get their son the professional counseling he desperately needs. But can the two exes remain strong in the face of Anthony’s increasing anguish?

Though he’s not the title lead (well, maybe…), the film rests on Jackman’s considerable talents. Here he gets a chance to test his dramatic prowess after being lauded for his more physical roles, either in musicals or as a certain marvelous mutant. Jackman brings gravitas and humanity to Peter, as he shows us his struggle to connect with Anthony while not giving in to his guilt over starting a new family. We see that inner turmoil in his eyes as Peter tries to control events beyond his reign. Aside from the discomfort with his teen, he also has to work with his former love, who Dern bestows a prickly dignity. We see that Kate is pushing down her rage while struggling to be seen as more than the woman Peter left. But with a few fleeting glances, Dern shows us that Kate has the slimmest hope that some of the past can be revisited. This makes things trickier and more awkward for the current Mrs. Miller played with a serene empathy by Kirby. Her Bess wants to be there for Peter and makes an effort to connect with Anthony. However, when he tries to shove her into the “homewrecker” cliche, Bess will not take his insults. As for the accuser, McGrath as the troubled Anthony does his best to navigate this difficult role. The script makes him more of a cautionary character than a fleshed-out teen. The title son bounces between moody and angry, with nary a glimpse into his twisted emotions. Oh, as I hinted Jackman’s Peter could be considered the son, for a few minutes, when he joined his own pop for lunch during a business trip to DC. That father is played by the actor from the film of the same title, none other than Anthony Hopkins. His toxic bully is perhaps there to show us the source of Peter’s desire to be a nurturing parent, the opposite of the bile-spewing Miller senior.

So, yes this is the same team from the lauded 2022 film THE FATHER. And again Florian Zeller is directing the screen version of his own stage play that has been adapted by Christopher Hampton. Can they expect the same accolades? Well, doubtful as this effort has little of the devasting impact of the earlier drama. The cast does their best with the unwieldy and often predictable family dynamic. The drama “beats” are telegraphed with all the subtlety of a basic cable TV film or even a “very special” afterschool special from the 70s. Speaking of that era, the script trods much of the same territory as the 1980 Oscar darling ORDINARY PEOPLE complete with a young lead even more twitchy and sullen than Timothy Hutton (it could’ve used an MTM ice queen, too). The film’s overall dark tone is nearly suffocating despite the attempts at levity with Jackman dancing to a 60s Tom Jones pop standard and taking time to toss around snacks with McGrath while watching a public domain cartoon. Most frustrating is the finale when two characters we thought were smart are easily manipulated. All the film’s earnestness and the end credit helpline info can’t ease the dreary emotional pummeling. And that’s what audiences are left with as the sun sets on THE SON.

2.5 out of 4

THE SON is now playing in select theatres