Captain Fantastic (2016)

Kermode finds the film thrilling, poignant and life-affirming, while keeping its portrait of Ben’s parenting deliberately complex. He particularly praises the performances, landscape cinematography and a song sequence that moved him to tears.

Turner finds the film funny, thoughtful and moving, anchored by an awards-worthy performance. He especially praises Viggo Mortensen’s charismatic acting, though he says the finale feels muted.

Debruge finds the family drama emotionally gripping, polished, and relatable, praising its evenhanded treatment of unconventional parenting. He singles out Viggo Mortensen’s sensitive performance and the film’s willingness to embrace genuine emotion.

O’Hara finds the film a thoughtful, engaging portrait of an unconventional family encountering the wider world. She singles out Viggo Mortensen’s compelling performance as its caring but dictatorial father.

The review finds the film a heartfelt, funny road movie that thoughtfully probes the limits of unconventional parenting. It praises Viggo Mortensen’s performance for holding the ensemble together while conveying a father whose devotion can work against his children’s interests.

O'Sullivan finds plenty to love in the film despite a few smug moments. She praises its refusal to reduce Ben to either a deluded tyrant or a principled pioneer, highlighting Mortensen's performance and the script's complexity.

Frankl finds the film adventurous and tender, though not wholly original. He particularly praises Mortensen’s performance and the believable family dynamic created by the cast.

Edelstein finds the film exuberant and engaging, while valuing its unresolved questions about parenting and civilization. He singles out the children’s performances and Frank Langella’s dramatic weight for praise.

The review gives the film a generally positive but qualified verdict. It singles out Viggo Mortensen’s performance and the film’s thoughtful questions about parenting and idealism.

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Dowd finds the film too tidy and sentimental, using its unusual family setup mainly for familiar road-movie comedy. He praises Viggo Mortensen’s nuanced performance, especially his ability to make Ben both compelling and occasionally unsympathetic.

Wise finds the film spirited and feel-good, but says it does not hold up to much scrutiny. He singles out its appealing family dynamic and overarching message as strengths.

The critic presents it as a domestic drama with an offbeat, wayward spirit. The review singles out the soulful quality Viggo Mortensen brings to the film.

Fischer finds the film well-made and its cast strong, but says its smugness and idealized portrayal of Ben undermine its themes. He particularly praises Viggo Mortensen’s performance and the children’s ensemble.

Brody finds the film skillfully constructed but not especially good, criticizing its schematic approach and lack of grounding in practical experience. He praises the strong dramatic backbone and the cast’s performances, which make the script leap from the screen.

Chang finds the film charming and well acted at first, but ultimately sentimental, self-satisfied, and less interesting than it seems. He particularly praises Viggo Mortensen’s compelling performance while faulting the film for sidelining Leslie and its female characters.

Watson argues that the film trivializes its radical premise beneath contrived quirk and feel-good plotting. He praises Viggo Mortensen for giving Ben a convincing emotional core, while criticizing the film’s shallow social critique.

Leane gives the film an emphatic endorsement, calling it a touching and entertaining exploration of family. He particularly praises Viggo Mortensen’s charismatic performance and the strong young cast.

The critic calls the film one of Cannes’s funniest and sweetest, praising its humor and compelling family story. They single out the young cast’s performances, while faulting the story for choosing compromise over a more unconventional ending.

The review finds the drama smart and engaging, with an unorthodox approach to parenting at its center. It particularly praises Viggo Mortensen and George MacKay, whose performances make the reviewer wish the road trip lasted longer.

The critic is delighted by the film, while reserving final judgment until a second viewing. They single out Viggo Mortensen’s nuanced performance as a tough, loving, and grieving father.

The review finds the film affecting and provocative despite some flaws. It praises the complexity of Ben Cash, while criticizing the sitcom-like humor and tidy ending.

Weller finds the film’s performances and direction engaging, but says its story loses substance as it progresses. She particularly praises Viggo Mortensen and George MacKay while faulting the contrived, unresolved family drama.

The critic finds the film smug and dishonest, ultimately undermining its ideas about grief. He praises Mortensen’s performance and the young cast, while faulting the film for idealizing Ben and dismissing those outside his family.

Chitwood finds the film naïve and frustrating, despite its compelling premise. He praises Viggo Mortensen’s nuanced performance but criticizes the film for abandoning its challenges to the parents’ choices.

Wilkinson finds the film overworked and uneven, with caricatured characters obscuring its story of grief. She particularly faults the succession of unsatisfying endings.

The critic finds the film frustrating and obnoxious, arguing that it turns a promising idea into a self-congratulatory rant. He praises Viggo Mortensen’s performance for grounding Ben’s cruelty in scarred vulnerability.