Writer-director Florian Zeller’s follow-up to the Oscar-winning “The Father” is such an astoundingly clunky and obtuse film about fatherhood and depression that not even Hugh Jackman and Laura Dern could save it. Read beastobsessed's review of 'The Son':
Peter is a big-time lawyer who’s considering joining a friend’s political campaign. While he’s an outwardly cheery and charming fellow, he’s a workaholic who constantly puts himself first and glosses over trouble with cheery platitudes. There’s tension at the corners of Jackman’s smiles, and the look in his eyes suggests that he understands more than he lets on.
Peter and Kate are both distressed by this revelation, and confounded by Nicholas’ refusal to explain why he’s spent his schooldays wandering Manhattan’s streets and parks—and, on top of that, why he’s cutting himself. When Nicholas tells Kate that he wants to move in with his father, she’s devastated, but acquiesces, and Peter does his best to welcome him into his home.
Those dynamics are exacerbated by additional factors, including Kate harboring feelings for her former husband; Beth’s insecurity and resentment with regards to Kate; and Peter’s habit of pretending that Nicholas is fine. Peter is also furious at his own lousy dad , who ditched him and his dying mother years earlier, and who, during a brief reunion, tells his 50-year-old son to “just fucking get over it, please.
These people’s tumultuous issues are as plain as day, and yet they do nothing but exhibit an epic lack of self-awareness. By the time Peter realizes that he’s become his absentee father, his obliviousness has reached almost laughably monumental levels. That goes double for his—and Kate, and Beth’s—dim-witted response to Nicholas’ anguish.
Their naivety is the film’s as well, with Zeller having everyone speak in blunt fashion—Nicholas about his grief and disinterest in life, which he can’t describe or explain; Peter and Kate about their mystification over their son’s misery, which leads to misguided and useless encouragement and threats—that would be right at home in anZeller’s writing is leaden and his images are no more graceful, self-consciously separating and isolating characters to underscore their selfishness and loneliness.
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