--- title: "C'mon C'mon" year: 2021 kind: "film" canonical: "https://film.one/film/cmon-cmon" fi1m_id: "cmon-cmon" imdb_id: "tt10986222" tmdb_id: 632617 wikidata_id: "Q73537113" fi1m_score: 80 critics_score: 74 critics_reviews: 25 published: "2026-10-03T02:01:53.228240+00:00" updated: "2026-10-03T02:01:53.675786+00:00" region: "AT" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # C'mon C'mon (2021) Directed by Mike Mills · 1h 50m · Drama ## Identity C'mon C'mon - **Canonical:** https://film.one/film/cmon-cmon - **Type:** Film - **Fi1m ID:** cmon-cmon - **IMDb ID:** tt10986222 - **TMDB ID:** 632617 - **Wikidata ID:** Q73537113 - **Same entity:** https://www.imdb.com/title/tt10986222/, https://www.themoviedb.org/movie/632617, https://www.wikidata.org/wiki/Q73537113 **Fi1m score: 80** · Critics 74 from 25 reviews *In a sentence:* The child has questions; the adult was rather hoping for instructions > Joaquin Phoenix and Woody Norman make Mike Mills’s family drama worth the patience it occasionally demands. We recommend it for their awkward, affectionate exchanges, with a caveat about the film’s habit of explaining feelings the actors have already made clear. ## Synopsis Johnny (Joaquin Phoenix) is trying to get closer to Jesse (Woody Norman), a child whose questions and eccentricities keep him uncertain about what to say next. Viv (Gaby Hoffmann) is dealing with the demands of motherhood, while Paul (Scoot McNairy) struggles with mental illness. Johnny needs to earn Jesse’s trust, and talking to him does not always mean understanding him. Alongside their encounters, young interviewees describe their concerns and how they see their lives. Memories of family life intrude as the adults try to make sense of their relationships. ## Review *C’mon C’mon* is a warm, sometimes over-explained family drama, and its performances make it worth the occasional wait. Writer and director Mike Mills takes the business of listening to children seriously, including the impatience and uncertainty that make it difficult. The bond between Johnny and Jesse gives him enough to work with without much extra assistance. Yet he keeps bringing in interviews, memories and commentary, as if the small exchanges between these two might not quite be sufficient. Joaquin Phoenix gives Johnny a gentleness that never quite settles into confidence, which is important when Woody Norman’s Jesse is so capable of wrong-footing him. The boy’s eccentricities occasionally feel too insistently written, but the actor makes his attention and resistance equally credible. We were moved by the uncertainty in their exchanges: the adult keeps having to reconsider how to respond to the child. Neither performance hurries to turn that awkwardness into a reassuring lesson, and their ease together makes the pauses worth watching. Gaby Hoffmann gives Viv the complication the film needs whenever its view of family life threatens to become too comfortable. Her care feels worked at, and the performance conveys how much concentration motherhood requires. There is less space for Paul, played by Scoot McNairy, whose mental illness receives too narrow a treatment. That imbalance matters because a film so interested in understanding people ought to give him more than the effect he has on those around him. Robbie Ryan’s black-and-white cinematography makes the closeness between the performers easy to study, and we like its quiet attention to faces. The monochrome can also make an ordinary exchange look as though it has been selected for special contemplation. Katie Byron’s production design is helpfully unobtrusive, keeping the surroundings from competing with the actors. Together, those choices suit a drama whose chief interest is how people behave when they have no confident idea of what they should say. Jennifer Vecchiarello’s editing has the difficult job of making the interviews, flashbacks and voice-over belong to the same conversation. At their most effective, the interviews let other children speak for themselves, and we welcome the change of company. The trouble comes when another passage of reflection arrives after a performance has already told us enough. We begin to feel the film arranging our response, and at 110 minutes those interruptions make a modest story feel longer than it needs to. Bryce Dessner and Aaron Dessner’s music works best as a gentle accompaniment to the uncertainty in the acting. Its restraint matters in a film already so willing to spell out what people feel. Within the family-drama genre, the film distinguishes itself through the attention it gives to the effort of getting along. There is pleasure in being allowed to spend time with these people, even when the patience becomes a little indulgent. Watch it when there is time to sit with a conversation that does not get straight to the point. Anyone hoping for brisk plotting should choose something else. For a quieter evening, the company is worth keeping. *Fi1m score 80, published 3 October 2026.* ## What the critics say Most critics respond warmly to C’mon C’mon, praising Mike Mills’s attention to everyday family life and the effort adults and children make to understand one another. Praise centres on Joaquin Phoenix’s gentle, grounded performance, Woody Norman’s natural presence and the convincing connection between them. Gaby Hoffmann’s small acts of maternal care also draw appreciation, while Robbie Ryan’s black-and-white cinematography is widely admired for its intimacy. The reservations concern how much shaping this gentle material needs: several reviews find the film meandering, overlong or too fond of its flashbacks, interviews and voice-over. Jesse’s eccentricities strike some as convincing and others as overworked. The spread runs from enthusiastic affection to frustration, with The Guardian finding emotional contrivance and self-conscious monochrome imagery where others see sincerity. Deadline is notably cooler about the drama’s low-key approach, though it still praises Ryan’s photography; even the less persuaded reviews tend to find something to value. ## Straight answers **Is C'mon C'mon worth watching?** *C'mon C'mon* is worth watching for its awkward, affectionate family exchanges, and we score it 80 out of 100. Joaquin Phoenix and Woody Norman make the uncertainty between adult and child moving, though the film sometimes explains feelings their performances already make clear. We recommend it for a quiet evening rather than for anyone after brisk plotting. **How long is C'mon C'mon, and what is it rated?** *C'mon C'mon* runs 1h 50m. It is a drama film. **Where can I watch C'mon C'mon in Austria?** *C'mon C'mon* is streaming on Amazon Prime Video in Austria, and it is also available to rent from Amazon Prime Video and Apple TV from €2.99. Availability is checked daily; the links above go straight to each service. **How violent or frightening is C'mon C'mon, and is it suitable for children?** *C'mon C'mon* has a UK 15 certificate, so it is not suitable for younger children despite its central child character. Its family drama includes mental illness and the pressures of motherhood; we would steer it towards older teenagers and adults interested in those subjects. The certificate alone does not establish how much violence or frightening material it contains. **How does C'mon C'mon compare to Petite Maman?** *C'mon C'mon* is the more meandering family drama; we favour [*Petite Maman*](https://film.one/film/petite-maman) for its precision and lasting emotional effect. Both take children's perspectives seriously, but *C'mon C'mon* surrounds its affectionate central relationship with interviews, memories and commentary. We recommend *Petite Maman* for a shorter, more concentrated exploration of family grief, and *C'mon C'mon* for time spent with uncertain adults and a questioning child. ### Reviews we read (25) - **The New Yorker**, Richard Brody (88/100, inferred): Brody finds the film tender, formally inventive and deeply affecting, praising its intricate use of sound, memory and documentary elements. He especially celebrates Woody Norman’s performance, while noting that the young interview subjects could have been shown longer. [Read](https://www.newyorker.com/culture/the-front-row/cmon-cmon-reviewed-a-child-star-is-born) - **The i Paper**, Christina Newland (85/100, inferred): Newland finds the film quietly profound and moving without becoming sentimental. She particularly praises Phoenix’s gentle, understated performance and the natural warmth among the three leads. [Read](https://inews.co.uk/culture/film/cmon-cmon-review-joaquin-phoenix-film-movie-gaby-hoffman-woody-norman-1331411) - **Vulture**, Angelica Jade Bastién (85/100, inferred): The critic finds the film tender and humane, calling it a career-best performance for Joaquin Phoenix. She praises Phoenix’s warmth and the film’s sensory craft, while faulting its limited perspective on Paul’s mental illness. [Read](https://www.vulture.com/article/cmon-cmon-movie-review-joaquin-phoenix-at-career-best.html) - **Evening Standard**, Charlotte O'Sullivan (4/5): O’Sullivan finds that the film rises above its familiar premise to offer an unusual, affecting portrait of family life. She especially praises Woody Norman’s vivid performance and Robbie Ryan’s cinematography. [Read](https://www.standard.co.uk/culture/film/cmon-cmon-review-joaquin-phoenix-movie-b969428.html) - **Little White Lies**, Charles Bramesco (4/4/4): The review is warmly positive about the film’s gentle family drama. It praises the way Mills finds emotional meaning in everyday moments and attentive listening. [Read](https://lwlies.com/reviews/cmon-cmon) - **Radio Times**, Kevin Harley (4/5): The review is favorable toward Mike Mills’ understated film, praising Joaquin Phoenix’s aptitude for subtler material. It finds Jesse’s quirks somewhat overstated. [Read](https://www.radiotimes.com/movie-guide/b-3pi5yy/cmon-cmon/) - **Sight and Sound**, BFI (80/100, inferred): The review finds Mills’s film a tender, thoughtful tribute to parenthood that makes one family’s healing feel universal. It particularly praises Gaby Hoffmann’s nuanced performance and the portrait of a mother’s love conveyed through small acts of care. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/cmon-cmon-a-quiet-tribute-parenthood) - **The Hollywood Reporter**, David Rooney (80/100, inferred): Rooney finds the film warmly insightful and emotionally satisfying, with its family relationships portrayed with affection and authenticity. He especially praises Woody Norman’s natural performance and Robbie Ryan’s intimate black-and-white cinematography. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/joaquin-phoenix-in-mike-mills-cmon-cmon-1235005241/) - **Time Out**, Zach Long (4/5): The review is positive about Mike Mills’s gentle, unconventional story. It singles out Joaquin Phoenix’s delightful performance and the film’s bond between children and adults. [Read](https://www.timeout.com/movies/cmon-cmon-2021) - **Los Angeles Times**, Jessica Kiang (75/100, inferred): Kiang finds the film an indulgent but compassionate and moving exploration of attention, family, and growing closer. She especially praises Woody Norman’s authentic performance and Robbie Ryan’s gorgeous black-and-white cinematography. [Read](https://www.latimes.com/entertainment-arts/movies/story/2021-11-18/cmon-cmon-review-joaquin-phoenix-mike-mills) - **Empire**, Hanna Flint (70/100, inferred): Flint finds the drama moving and warmly acted, especially praising the natural chemistry between Phoenix and Norman. She also finds its flashbacks, interview footage and voice-over overindulgent, leaving the film feeling protracted. [Read](https://www.empireonline.com/movies/reviews/cmon-cmon/) - **IndieWire**, David Ehrlich (B-): Ehrlich finds the film sweet and empathetic but also meandering and dramatically diffuse. He praises Joaquin Phoenix’s natural performance and the tender bond between Johnny and Jesse. [Read](https://www.indiewire.com/criticism/movies/cmon-cmon-review-1234661731/) - **Screen Daily**, Tim Grierson (70/100, inferred): The review presents the film as an unsentimental exploration of strained family dynamics. It singles out Joaquin Phoenix’s performance for praise. [Read](https://www.screendaily.com/reviews/cmon-cmon-review/5163570.article) - **The AV Club**, Mike D'Angelo (B-): D’Angelo finds the family drama empathetic and touching, though Jesse’s eccentric behavior often feels implausible. He especially praises Joaquin Phoenix’s unusually relaxed, grounded performance. [Read](https://www.avclub.com/joaquin-phoenix-is-unusually-grounded-in-the-family-dra-1848067642) - **Variety**, Peter Debruge (70/100, inferred): Debruge finds the family drama poignant and quietly profound, though less entertaining than it could have been. He especially praises Woody Norman’s natural performance and Jesse’s convincingly genuine eccentricities. [Read](https://variety.com/2021/film/reviews/cmon-cmon-review-joaquin-phoenix-1235054348/) - **RogerEbert.com** (65/100, inferred): The page content is unavailable, so the critic’s verdict and any specific praise or complaint cannot be established. The supplied text contains only a browser-check message. [Read](https://www.rogerebert.com/reviews/cmon-cmon-movie-review-2021) - **The New York Times** (65/100, inferred): The page could not be accessed, so its critical verdict cannot be established. No specific praise or complaint is available in the supplied text. [Read](https://www.nytimes.com/2021/11/18/movies/cmon-cmon-review-joaquin-phoenix.html) - **Slant Magazine**, Keith Watson (2.5/4): Watson finds the film admirably resistant to melodrama but ultimately shapeless and sometimes spiritless. He praises the naturalistic interplay between Joaquin Phoenix and Woody Norman, while criticizing the drab visual atmosphere. [Read](https://www.slantmagazine.com/film/cmon-cmon-review-mike-mills-joaquin-phoenix/) - **The Guardian**, Peter Bradshaw (3/5): Bradshaw finds the film polished and emotionally contrived despite its warmth and craft. He praises the performances, especially Gaby Hoffmann’s, while criticizing the monochrome imagery as overly self-congratulatory. [Read](https://www.theguardian.com/film/2021/oct/08/cmon-cmon-review-joaquin-phoenix) - **The Wrap** (90/100, inferred): The critic finds the film soulful, truthful, and compassionately hopeful without resorting to false optimism. They especially praise Woody Norman’s performance and the trust-building interplay between him and Joaquin Phoenix. [Read](https://www.thewrap.com/cmon-cmon-film-review-joaquin-phoenix-mike-mills/) - **Paste**, Natalia Keogan (8.9/10): Keogan finds the film hopeful and emotionally sincere, arguing that it takes children’s anxieties and perspectives seriously. She especially praises the natural chemistry between Joaquin Phoenix and Woody Norman, alongside Norman’s playful, unforced performance. [Read](https://www.pastemagazine.com/movies/mike-mills/cmon-cmon-review) - **/Film**, Hoai-Tran Bui (8.5 out of 10): Bui finds the film gentle, moving, and quietly affecting, despite occasional pretension and a few overly precocious moments. She especially praises Joaquin Phoenix’s warm, grounded performance and his natural connection with Woody Norman. [Read](https://www.slashfilm.com/665521/cmon-cmon-review-joaquin-phoenix-is-a-natural-in-mike-mills-gentle-family-drama/) - **Consequence**, Jesse Hassenger (75/100, inferred): The critic finds the film too open-hearted and generous to miss, despite occasional navel-gazing. He especially praises Joaquin Phoenix’s warm, convincing performance and his remarkable chemistry with Woody Norman. [Read](https://consequence.net/2021/10/cmon-cmon-review-nyff/) - **The Playlist** (64/100, inferred): The page could not be accessed, so the critic’s verdict is unavailable. No praise or complaint from the review can be verified. [Read](https://theplaylist.net/cmon-cmon-joaquin-phoenix-mike-mills-telluride-review-20210902/) - **Deadline**, Todd McCarthy (45/100, inferred): McCarthy finds the film intelligent and insightful but ultimately low-key and frustrating. He singles out Robbie Ryan’s black-and-white cinematography as a constant pleasure. [Read](https://deadline.com/2021/09/cmon-cmon-movie-review-joaquin-phoenix-mike-mills-a24-1234830178/) ## Details - **Director:** Mike Mills - **Director:** Mike Mills - **Writer:** Mike Mills - **Cinematography:** Robbie Ryan - **Editor:** Jennifer Vecchiarello - **Music:** Bryce Dessner, Aaron Dessner - **Production design:** Katie Byron - **Producer:** Chelsea Barnard, Lila Yacoub, Andrea Longacre-White - **Cast:** Joaquin Phoenix as Johnny; Gaby Hoffmann as Viv; Woody Norman as Jesse; Scoot McNairy as Paul; Molly Webster as Roxanne; Jaboukie Young-White as Fern; Deborah Strang as Carol; Sunni Patterson as Sunni - **Runtime:** 1h 50m - **First release (the US):** 2 September 2021 - **Genres:** Drama - **Budget:** $8 million - **Box office:** $4 million - **Trailer:** https://www.youtube.com/watch?v=0GnOo5-j4Ok ## Where to watch in Austria - Amazon Prime Video: add-on - Amazon Prime Video: rent €2.99, sd - Apple TV: rent €3.99, hd - Amazon Prime Video: buy €5.99, hd - Apple TV: buy €7.99, sd *Checked 2026-10-03.* Also available in: AE, AR, AT, AU, BE, BR, CA, CH, CL, CO, DE, DK, EC, ES, FI, FR, GB, IE, IN, IT, MX, NL, NO, NZ, PA, PE, PT, SE, TR, US. Add `?region=XX` to this URL for another country. ## If you liked this - *Alice in the Cities* (1974): An adult and a child learn how awkward looking after someone can be. - *Petite Maman* (2021), Fi1m 88: A child’s view of family grief, handled with patience and precision. — [Fi1m page](https://film.one/film/petite-maman.md) - *Our Little Sister* (2015): Everyday family routines become absorbing through performances that never strain for importance. - *20th Century Women* (2016): Another patient account of adults discovering how little they understand the young. - *The Kid with a Bike* (2011): A more urgent childhood drama, equally attentive to the difficulty of earning trust. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/cmon-cmon