‘C’mon C’mon’ Trailer: Joaquin Phoenix Travels Cross-Country Interviewing Kids

Coming off the success of “Zola” and “The Green Knight,” A24 has officially set theatrical release dates in late 2021 for two upcoming dramas and awards contenders, Mike Mills‘ “C’mon C’mon” and Sean Baker‘s “Red Rocket.” READ MORE: ‘C’mon C’mon’: Joaquin Phoenix Shines & Empathy Flows In Mike Mills’ Sublime, Micro-Traumatic Family Drama [Telluride Review] Deadline has revealed that “C’mon C’mon,” starring Oscar-winner Joaquin Phoenix, will be released on November 19, while Baker’s next pic,

EXCLUSIVE: Deadline has just heard that A24 had set theatrical release dates for their fall film festival critically acclaimed titles, C’mon C’mon from Mike Mills on Nov. 19, and Sean Baker’s Red Rocket on Dec. 3.

A 22-year-old YouTuber who had been documenting her “van life” with her boyfriend was reported missing on Saturday — as her boyfriend reportedly returned home without her.

Everyone speaks in the same struggling-to-be-sensitive manner in C’mon C’mon, a film of intelligence and insight that nonetheless remains a low-key and sometimes frustrating study of big city short-fallers.

Oprah Winfrey and Gayle King are hitting the road once again.

Joaquin Phoenix stars in the upcoming film C’mon, C’mon, and the trailer is here!

Joaquin Phoenix and Gaby Hoffmann get the black-and-white treatment in “C’mon C’mon”.

Five years have passed since Mike Mills‘ last film, “20th Century Women,” had its world premiere at the 2016 New York Film Festival. Mills returns this year with his new movie, “C’mon C’mon,” and given its lead actor, it’s bound to be one of the most anticipated films at NYFF this year.

review of the film at Telluride last week, described it as an “intergenerational dialogue turned heartening dramedy” in which the adult characters are as lost as their younger counterparts and in which the future generation retains a bit of hopefulness despite the bleak future today’s adults have left them with. The first trailer gives a taste of that melancholy dialogue, but more prominently the crisp and beautiful black and white cinematography from “Marriage Story” DP Robbie Ryan.

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Clayton Davis If there’s a film that screened in the mountains at the Telluride Film Festival, and grew legs with attendees, it was Mike Mills’ “C’mon C’mon” starring Joaquin Phoenix, Gaby Hoffmann and Woody Norman. The A24 feature debuted at the famous Chuck Jones theater on the fest’s opening day, which has become a bit of a good luck charm since movies like “Lady Bird” (2017) and the best picture-winning “Moonlight” (2016) played in that coveted slot.

Jodie Comer is taking on a new role!

K.J.

Peter Debruge Chief Film CriticIf filmmaker Miranda July hadn’t gotten there first, “The Future” would have made a fine title for fellow director (and husband) Mike Mills’ latest feature, “C’mon C’mon,” a small, soft-spoken yet casually profound family drama in which a subdued, post-“Joker” Joaquin Phoenix plays a middle-aged radio journalist who travels the country interviewing kids, asking what they think about their lives and where the world is headed.It shouldn’t really surprise that the

th Century Women” and “Beginners,” but now there’s the formal melancholy of black-and-white cinematography (by Robbie Ryan, “Marriage Story”) and the story of a minor and his impromptu guardian.For this psychologically textured effort, Mills careens with the tale of a 9-year-old boy with a hyperactive mind, his burdened mother, and his uncle-turned–temporary putative father.

Having already excavated his personal experiences to tell intimate, insightful, and emotionally translucent stories about fathers and sons (“Beginners”), matriarchs raising boys (“20th Century Women”), and the way we’re all amateurs fumbling through life, sensitively attuned writer/director Mike Mills turns his tender filmmaking gaze towards children and the adult/child relationship in his latest film, the sublime “Cmon Cmon.” It’s yet another perceptive, impeccably crafted winner in an informal

Keeping its lineup as secret as possible until the eve of its opening on Thursday, the Telluride Film Festival just announced an eclectic, varied and in some cases likely Oscar-contending group of movies, most of which will have their U.S. debuts, and some world premieres, even though the fest doesn’t use labels like that themselves.