Review: In the underpowered ‘Daddio,’ the proverbial cab ride from hell could use more hell

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As an admirer of authentic and engaging cinematic conversations, I was intrigued by the premise of “Daddio” – a film that puts verbal discourse front and center between two strangers in a yellow taxi, played by Sean Penn and Dakota Johnson. The prospect of witnessing a deep, unfiltered exchange between these two talented actors was an exciting one.

In today’s deeply divided society, the art of meaningful conversation has unfortunately taken a backseat. Sadly, this is also evident in many movies, where dialogue often feels expository, superficial, or contrived. The new film “Daddio” aims to bring conversational depth to the forefront by confining two characters with distinct life stories to the confines of a yellow taxi. With Sean Penn and Dakota Johnson starring, you can guess which one plays the cabbie.

A calm and sophisticated traveler, identified only as Johnson, makes her way back to New York’s JFK airport from a visit to her big sister in Oklahoma. Despite paying a fixed price for her journey, the taxi driver, Clark, who is known for his crusty demeanor and outspoken opinions, seems to have an unending commentary going on. Married twice over, he engages in philosophical discussions about global issues and subtly probes into the romantic history of his passenger. In response, Johnson shares hints about her own life, occasionally unwittingly and other times more deliberately, prompting Clark to reveal more about himself.

Writer-director Christy Hall, who originally intended the story as a stage play, allows for extended dialogue between the characters. During a prolonged cab ride with no movement, there are still important exchanges happening. Johnson, uneasy, responds to persistent sexting from a lover. This third figure, unseen except for one photo sent to her phone, serves as another topic of speculation and bravado for Clark, who proudly considers himself an expert in male-female relationships. He makes deliberate eye contact through the rearview mirror.

Sean Penn in the movie “Daddio.”
(Sony Pictures Classics)

In a seemingly uneventful road trip with “Daddio,” the chauvinistic yet kind-hearted driver, and the intelligent yet vulnerable young female passenger, there’s an absence of tension or danger. This lack of conflict is the issue at hand. Instead of a deep conversation between strangers, the movie focuses on the deliberate crafting of a scenario by the writer to overcome cultural differences between men and women. Hall is eager to create a surprising moment that challenges our perceptions – He’s sensitive beneath his gruff exterior! She finds humor in his roughness! – but we’re never given the chance to observe the subtle changes taking place between them, making their connection feel forced rather than authentic. Despite the film’s exploration of life, it unfortunately lacks the very essence of it.

As a filmmaker with several years of experience under my belt, I can empathize with Hall’s challenge when it comes to directing her first feature with only two ingredients and one container at her disposal. It’s a daunting task that requires immense creativity and innovation. I’ve been there myself, feeling the pressure to make something compelling out of limited resources.

Instead of “Daddio,” the film exhibits a less confident visual style and rhythm. Hall collaborated with cinematographer Phedon Papamichael, who has worked on critically acclaimed films like “Nebraska” and “Ford v Ferrari.” However, Hall opted for a polished studio look instead of a more raw, unpredictable feel. While there’s nothing inherently wrong with filming on a set, Johnson’s polished performance and Penn’s casual swagger come across as if they were advertising a perfume called Common Ground rather than genuine characters. At times, their interactions seem forced and disconnected, making “Daddio” feel more like a controlled environment than a dangerous one.

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2024-07-18 18:32