| A24 | Release Date: November 19, 2021 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
40
Mixed:
3
Negative:
0
|
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Critic Reviews
The film finds a raw beauty in the wonders and heartbreaks of everyday life. It’s a humble portrait of a family’s deepening connections supported by a number of cinematic pleasures — expert sound design and cinematography; touching performances by Norman and Hoffman; and a tremendous showing from Joaquin Phoenix, operating at a register he’s rarely found before. It’s a career best for him — lovely, empathetic, humane.
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C’mon C’mon is a tender and turbulent melodrama that amplifies its power with a documentary current. The result is a film of an extraordinary amplitude; it’s both poised and frenetic, contemplative and active, heartily sentimental and astringently contentious, intensively intimate and expansively world-embracing, exactingly composed and wildly spontaneous.
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This is far from the first movie about the perpetual struggle of relating to other people; it’s not even Mills’ first stab at it. But C’mon C’mon is so lovingly assembled and insightful in its thematic concerns that it feels like he could keep returning to that well and find something just as essential there every time.
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SlashfilmNov 19, 2021
There's something about a Mike Mills film that feels like it's gently caressing the hair out of your face and kissing you on the forehead: a softness, a wistfulness that acknowledges how hard reality can be while tucking you into bed. While "C'mon C'mon" can't protect you from the world, it can at the very least hold your hand as it tries to figure out the path forward too.
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The Film StageOct 14, 2021
If its rueful, midlife nostalgia doesn’t carry quite the same current of vibrant, urgent empathy as “20th Century Women” or “Beginners,” the small, polished pebbles of wisdom it unearths are still a pleasure to observe as they’re sent skimming across the surface of a delicate, compassionate film.
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Mills’ core insight remains the same in every film: We’re all screwed up to some degree, all constantly improvising, all doing the best we can with relatively few guidelines. That’s not especially innovative or profound, perhaps, but seeing it refracted through a connection that movies tend to ignore lends it a certain sparkle.
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