First-time director Christy Hall brings back the two-hander film concept. Dakota Johnson (“Fifty Shades of Grey,” “The Lost Daughter“) riding in the back of a cab driven by Sean Penn (“Asphalt City,” “Mystic River“) doesn’t sound very compelling on its own. However, both actors have been known to provoke on-screen in their short and long careers. You will find the “New York“ conversation entertaining or something you would walk away from in real life. Less than ten minutes into a film shot impeccably well with precise editing and snazzy cut-aways, Penn’s character is ranting about the modern age and apps and comparing Yellow Cabs to Blockbuster.
Arriving from an emotional trip back home, she (Johnson) hails a cab at JFK Airport headed home to Midtown. Clark (Penn) is her driver, open to conversation, which she welcomes as a distraction from her sexting and the emotional baggage she is traveling with. They exchange the obvious stuff first, but Clark’s years of driving people around the city have given him insight into people. He interprets behavior, silence, and attention to their iPhone and assesses each person who sits in the back seat. He comments that she looks 24 but speaks like someone 50. By the end of their trip, tears have been shed, secrets shared, and a brief bond created only because they will never encounter each other again.
"Less than ten minutes into a film shot impeccably well with precise editing and snazzy cut-aways, Penn's character is ranting about the modern age and apps and comparing Yellow Cabs to Blockbuster."
“Daddio“ might only appeal to people who live in major cities. An understanding exists between these characters that could only occur because they both have been hardened, molded, and armored by their years in New York City. Whether their initial dialogue is philosophically engaging or a grotesque turn-off depends on where the viewer lives. The first time Clark uses the word “panties,” Johnson’s character cringes as much as the audience. The first hour contains a few cringe-worthy moments, but it’s all part of Hall’s design, which comes into focus at the final 30 minutes of screen time.
It’s challenging to think of another film that so drastically turns itself around by the end. Sticks the landing in a way that’s profoundly emotional and equally impressive. Not only does it rehabilitate the first hour, but Hall’s message about two ordinary people struggling to live their lives the best way they can becomes crystal clear. Considering your cab or Uber pairing of occupant and driver, Johnson and Penn are an unusual pairing on purpose. Both actors showcase their strengths by relying on little more than inflection, looks, and Hall’s screenplay. It’s not a film for everyone, but there is merit to be found in Hall’s stripped-down approach that’s surprisingly affirming and human.
Final Thought
A rare film that justifies itself in the final thirty minutes, especially for a two-hander.