Historically, one of the biggest complaints that casual audience members and even some of genre entertainment harshest critics hold against Science Fiction projects is that they just cannot relate to the stories.
Mind you, not every theatrical opus that comes to life involves an alien invasion, some storied first contact with another species, or harmful genetic tampering carried out to dangerous degrees. Furthermore, not every SciFi oddity explores the theoretical treachery of Artificial Intelligence, nor does every flick involve hyperdimensional realities, time travel, or paradoxical conundrums. Why, it isn’t as if there need be ray guns and jet packs and flying cars and robots populating every corner of a tentpole release. Sometimes, the truly best Science Fiction films really only employ some fateful idea as a set-up – as a construct – and then the storytellers go off in a very human and very applicable direction.
For better or for worse, 2023’s Daddy pretty much fits into the category of latter films.
Co-writers and co-directors Neal Kelley and Jono Sherman basically craft the idea of a universe wherein the federal government has taken over the responsibility of determining who amongst the citizenry can and cannot be both ‘approved’ and ‘scheduled’ for becoming a parent … and that’s about as far and feverish as the SciFi framework goes. Once that limited parameter is set in stone, their story grows as a Comedy and a light character study of four men – who couldn’t be further unalike – thrown together at a weekend retreat wherein they’re apparently under evaluation for prospective fatherhood roles in this brave new world.
Of course, there’s a fair degree of risk associated with such an undertaking. Those showing up for Science Fiction might feel swindled as there really isn’t very much of it. Similarly, those showing up for the Comedy may wonder why and if the Science Fiction was truly needed. Hopefully, both will see the merits of such a union … because – as biology teaches us – it’s only with a merger that the two might bear fruit … a fitting metaphor for such a delightful glimpse into the never-ending possibilities of asking of ‘What If?’
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
Mind you, not every theatrical opus that comes to life involves an alien invasion, some storied first contact with another species, or harmful genetic tampering carried out to dangerous degrees. Furthermore, not every SciFi oddity explores the theoretical treachery of Artificial Intelligence, nor does every flick involve hyperdimensional realities, time travel, or paradoxical conundrums. Why, it isn’t as if there need be ray guns and jet packs and flying cars and robots populating every corner of a tentpole release. Sometimes, the truly best Science Fiction films really only employ some fateful idea as a set-up – as a construct – and then the storytellers go off in a very human and very applicable direction.
For better or for worse, 2023’s Daddy pretty much fits into the category of latter films.
Co-writers and co-directors Neal Kelley and Jono Sherman basically craft the idea of a universe wherein the federal government has taken over the responsibility of determining who amongst the citizenry can and cannot be both ‘approved’ and ‘scheduled’ for becoming a parent … and that’s about as far and feverish as the SciFi framework goes. Once that limited parameter is set in stone, their story grows as a Comedy and a light character study of four men – who couldn’t be further unalike – thrown together at a weekend retreat wherein they’re apparently under evaluation for prospective fatherhood roles in this brave new world.
Of course, there’s a fair degree of risk associated with such an undertaking. Those showing up for Science Fiction might feel swindled as there really isn’t very much of it. Similarly, those showing up for the Comedy may wonder why and if the Science Fiction was truly needed. Hopefully, both will see the merits of such a union … because – as biology teaches us – it’s only with a merger that the two might bear fruit … a fitting metaphor for such a delightful glimpse into the never-ending possibilities of asking of ‘What If?’
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“In a dystopian society where the state has the power to determine who can and cannot father children, four men attend a government-sanctioned retreat in the remote mountains of California. When they show up at the site, only to find no guide or instructions, they are left to their own devices and must prove to themselves - and each other - that they have what it takes to become fathers.”
One of the greatest tricks in telling a superb story often boils down to two critical elements: (A) knowing exactly where to begin and (B) knowing precisely when it should end. It should go without saying that there are clearly other ingredients to any great concoction – a great cast, some noticeable circumstances, plot development, etc. – but those pale in consideration if they’re improperly framed. While all of the stuff in-between can be jiggled around for good measure, the poles – the start and the finish – must stay firmly cemented in place so that the assembly possesses the requisite meaning and the measurable impact. This is how we determine its ultimate effectiveness.
This is where I have my only substantive complaint with Daddy, a rather enjoyable and interesting ‘dystopian comedy’ if there ever was such a thing. While the beginning is damned exquisite – which I’ll get to in a moment – its denouement was a letdown, dialing down the whole affair to little more than a joke’s punchline. If a film leaves audience members wanting clarification, then it’s reasonable to conclude that something was awry … and I firmly believe a more fitting conclusion – one that kinda/sorta mirrored the prescient introduction – was needed for proper closure. Given this isn’t the kind of picture that requires a sequel, I would’ve preferred having a few of my questions answered.
Jeremy (played by Jono Sherman) has reached a crossroads in his life. He’s made the decision that he wants to be a father. Granted, he may or may not have found the right woman to aid him on this journey – even in the near future it takes two to tango – but the current political structure requires that he undergo an evaluation as part of the application process. This is where Daddy’s opening soars as the audience is introduced to this somewhat oafish young man being classically interrogated by F.R.A.N.N., an Alexa-style Artificial Intelligence wannabe who is little more than a glowing mechanical orb on an executive conference table.
As I said above, the film’s launch is brilliant. One couldn’t ask for a simpler or more effective outline for this universe, a place wherein men are no longer allowed to wildly sow their oats – as it were – without an institutional stamp of approval. To make matters even more satirical, it isn’t even another human being who makes that initial determination but instead a hyper-functional A.I. with no eyes, no lips, and (presumably) no vagina (another necessary component eventually). Only with F.R.A.N.N.’s positronic agreement does Jeremy advance to Round Two, a three-day retreat wherein his skills as a potential father are assessed.
“In a dystopian society where the state has the power to determine who can and cannot father children, four men attend a government-sanctioned retreat in the remote mountains of California. When they show up at the site, only to find no guide or instructions, they are left to their own devices and must prove to themselves - and each other - that they have what it takes to become fathers.”
One of the greatest tricks in telling a superb story often boils down to two critical elements: (A) knowing exactly where to begin and (B) knowing precisely when it should end. It should go without saying that there are clearly other ingredients to any great concoction – a great cast, some noticeable circumstances, plot development, etc. – but those pale in consideration if they’re improperly framed. While all of the stuff in-between can be jiggled around for good measure, the poles – the start and the finish – must stay firmly cemented in place so that the assembly possesses the requisite meaning and the measurable impact. This is how we determine its ultimate effectiveness.
This is where I have my only substantive complaint with Daddy, a rather enjoyable and interesting ‘dystopian comedy’ if there ever was such a thing. While the beginning is damned exquisite – which I’ll get to in a moment – its denouement was a letdown, dialing down the whole affair to little more than a joke’s punchline. If a film leaves audience members wanting clarification, then it’s reasonable to conclude that something was awry … and I firmly believe a more fitting conclusion – one that kinda/sorta mirrored the prescient introduction – was needed for proper closure. Given this isn’t the kind of picture that requires a sequel, I would’ve preferred having a few of my questions answered.
Jeremy (played by Jono Sherman) has reached a crossroads in his life. He’s made the decision that he wants to be a father. Granted, he may or may not have found the right woman to aid him on this journey – even in the near future it takes two to tango – but the current political structure requires that he undergo an evaluation as part of the application process. This is where Daddy’s opening soars as the audience is introduced to this somewhat oafish young man being classically interrogated by F.R.A.N.N., an Alexa-style Artificial Intelligence wannabe who is little more than a glowing mechanical orb on an executive conference table.
As I said above, the film’s launch is brilliant. One couldn’t ask for a simpler or more effective outline for this universe, a place wherein men are no longer allowed to wildly sow their oats – as it were – without an institutional stamp of approval. To make matters even more satirical, it isn’t even another human being who makes that initial determination but instead a hyper-functional A.I. with no eyes, no lips, and (presumably) no vagina (another necessary component eventually). Only with F.R.A.N.N.’s positronic agreement does Jeremy advance to Round Two, a three-day retreat wherein his skills as a potential father are assessed.
At an airBNB located in the California mountains, Jeremy meets three other prospective dads: Mo (Pomme Koch), Sebastian (Yuriy Sardarov), and Andrew (Neal Kelley) are also hoping for their respective shots to ‘get one past the goalie’ and start a family, though it remains unclear just who and how many of them have settled on a mate. (There are discussions, of course, but it’s mostly idle chitchat shared between nervous casual acquaintances and doesn’t amount to all that much.) Gathered around the dinner table, they’re awaiting the arrival of what they assume to be a government inspector (or sorts), and therein lies they’re shared dilemma: what do they do when no one shows?
Uncertainty abounds; and, yes, it’s the stuff of comedy. Eventually, they decide that the failure of their assessor to arrive must be part of the process, so they go about trying to impress one another and a possibly faceless Big Brother watching in every way they can. The men begin trying to impress one another with their skills and social status, believing that somehow they’re still under the proverbial microscope. They share, they bond, and they even entertain one another, hoping that minimally they’re passing time while earning their government’s approval. Just about the time wherein they begin to crack from putting their best feet forward, a woman does come knocking on their door: Ally (Jacqueline Toboni) insists that she’s merely lost in the woods after her automobile broke down nearby, but our four fathers-to-be are suspecting that that’s just what a secret inspector would say … wouldn’t she?
As one can see, Daddy functions largely on the humor of these four oddballs equally trying to come to terms with themselves as well as they can each other. It’s a constant battle to both match wits and best one’s fellow man all in pursuit of a goal they’re not entirely certain any of them are suited to achieve. Along the way, they do discover bits and pieces about themselves – often comically as opposed to anything matching seriousness – while trying to make the best of their bad circumstances. They’re a great ensemble together, and it's the kind of cast that feels like they had a helluva lot of fun whipping this story into shape.
Still …
Being a father means making certain sacrifices, often times for the benefit of the child or even one’s chosen mate/spouse. There’s always a give and take in life, but I suspect many parents would privately concede that – oft times – there’s far more give than anything else. “It’s what you sign up for,” they say. Without spoiling some of the film’s particulars, the tale really only goes so far, never quite definitively explaining everything about their time in isolation. Yes, someone does eventually arrive – it may or may not be who you expect – but there’s a pervasive ambiguity to the culmination of their shared journey that, frankly, needed a suitable wrap-up.
In some ways, the finish reminds me of what director Mike Nichols reached for in the last scene of The Graduate (1967): the film’s two lovers – Ben Braddock (Dustin Hoffman) and Elaine Robinson (Katharine Ross) – escape the clutches of family and are left riding off into the sunset seated quietly in the back seat of a bus. Over several seconds, Nichols zooms in on their expressions, and yet we’re never assured by either Hoffman or Ross’ faces precisely what they’re feeling. Are they happy? Are they sad? Are they elated? Did they achieve what they set out to? There’s just an existential meaninglessness to the scene – an underlying uncertainty surrounding what might lie ahead – but the audience was minimally given greater context for the stakes, giving us enough to process its intent however we may.
Uncertainty abounds; and, yes, it’s the stuff of comedy. Eventually, they decide that the failure of their assessor to arrive must be part of the process, so they go about trying to impress one another and a possibly faceless Big Brother watching in every way they can. The men begin trying to impress one another with their skills and social status, believing that somehow they’re still under the proverbial microscope. They share, they bond, and they even entertain one another, hoping that minimally they’re passing time while earning their government’s approval. Just about the time wherein they begin to crack from putting their best feet forward, a woman does come knocking on their door: Ally (Jacqueline Toboni) insists that she’s merely lost in the woods after her automobile broke down nearby, but our four fathers-to-be are suspecting that that’s just what a secret inspector would say … wouldn’t she?
As one can see, Daddy functions largely on the humor of these four oddballs equally trying to come to terms with themselves as well as they can each other. It’s a constant battle to both match wits and best one’s fellow man all in pursuit of a goal they’re not entirely certain any of them are suited to achieve. Along the way, they do discover bits and pieces about themselves – often comically as opposed to anything matching seriousness – while trying to make the best of their bad circumstances. They’re a great ensemble together, and it's the kind of cast that feels like they had a helluva lot of fun whipping this story into shape.
Still …
Being a father means making certain sacrifices, often times for the benefit of the child or even one’s chosen mate/spouse. There’s always a give and take in life, but I suspect many parents would privately concede that – oft times – there’s far more give than anything else. “It’s what you sign up for,” they say. Without spoiling some of the film’s particulars, the tale really only goes so far, never quite definitively explaining everything about their time in isolation. Yes, someone does eventually arrive – it may or may not be who you expect – but there’s a pervasive ambiguity to the culmination of their shared journey that, frankly, needed a suitable wrap-up.
In some ways, the finish reminds me of what director Mike Nichols reached for in the last scene of The Graduate (1967): the film’s two lovers – Ben Braddock (Dustin Hoffman) and Elaine Robinson (Katharine Ross) – escape the clutches of family and are left riding off into the sunset seated quietly in the back seat of a bus. Over several seconds, Nichols zooms in on their expressions, and yet we’re never assured by either Hoffman or Ross’ faces precisely what they’re feeling. Are they happy? Are they sad? Are they elated? Did they achieve what they set out to? There’s just an existential meaninglessness to the scene – an underlying uncertainty surrounding what might lie ahead – but the audience was minimally given greater context for the stakes, giving us enough to process its intent however we may.
Sadly, Daddy just … well … ends.
There are no answers as to what the retreat was all about, what fundamental purpose it could possibly have served in the way it took place, nor why none of these men had ever heard stories surrounding such experiences that one would believe might be commonplace in this particular universe. Because we’re never afforded the context with which to rank the closing frame, it winds down with aloofness, a bit of a narrative misstep to an affair that, otherwise, found a great deal to say about not only the human condition but also some insight into why we do what we do. The ambiguity might work for some, but I thought it reduced the whole experience to little more than a lazy, bad joke.
I – and these characters – deserved better.
Daddy (2023) was produced by Enhanced Media, The Kalin Company, and Twnshp Pictures. DVD distribution (for this particular release) has been coordinated by the fine folks at Anchor Bay Entertainment. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be exceptional from start-to-finish. As for the special features? The disc boasts a commentary track along with some extras by way of cut and/or extended scenes along with the cast’s improvisation reel. It’s a nice collection.
Strongly Recommended.
Clever but incomplete, Daddy (2023) both matures and gets a bit immature after its clever set-up, one that shows just how invasive one faceless government can still truly be in the era of modern technology. Who knew surrendering one’s rights could produce so many laughs? Still, excellent performances can’t quite escape the fact that a bit more context might’ve given its curious ending better legs to stand on – maybe even stronger baby steps toward a real resolution – as some might feel cheated with its all-too-easy punchline. Definitely worth a watch for those who like a few chuckles with their SciFi … and there’s barely any SciFi in here for those who show up for the Comedy.
In the interests of fairness, I’m pleased to disclose that the fine folks at Anchor Bay Entertainment provided me with a complimentary Blu-ray of Daddy (2023) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
There are no answers as to what the retreat was all about, what fundamental purpose it could possibly have served in the way it took place, nor why none of these men had ever heard stories surrounding such experiences that one would believe might be commonplace in this particular universe. Because we’re never afforded the context with which to rank the closing frame, it winds down with aloofness, a bit of a narrative misstep to an affair that, otherwise, found a great deal to say about not only the human condition but also some insight into why we do what we do. The ambiguity might work for some, but I thought it reduced the whole experience to little more than a lazy, bad joke.
I – and these characters – deserved better.
Daddy (2023) was produced by Enhanced Media, The Kalin Company, and Twnshp Pictures. DVD distribution (for this particular release) has been coordinated by the fine folks at Anchor Bay Entertainment. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be exceptional from start-to-finish. As for the special features? The disc boasts a commentary track along with some extras by way of cut and/or extended scenes along with the cast’s improvisation reel. It’s a nice collection.
Strongly Recommended.
Clever but incomplete, Daddy (2023) both matures and gets a bit immature after its clever set-up, one that shows just how invasive one faceless government can still truly be in the era of modern technology. Who knew surrendering one’s rights could produce so many laughs? Still, excellent performances can’t quite escape the fact that a bit more context might’ve given its curious ending better legs to stand on – maybe even stronger baby steps toward a real resolution – as some might feel cheated with its all-too-easy punchline. Definitely worth a watch for those who like a few chuckles with their SciFi … and there’s barely any SciFi in here for those who show up for the Comedy.
In the interests of fairness, I’m pleased to disclose that the fine folks at Anchor Bay Entertainment provided me with a complimentary Blu-ray of Daddy (2023) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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