Seems like only months ago (because it was only months ago) that Dakota Johnson’s hilariously unpredictable and deliberately awkward banter on the press tour for “Madame Web” turned out to be far more entertaining than the film itself, which was shockingly bad — but now with the June releases of the breezy and funny “Am I OK?” (which was filmed before “Madame Web”) and the piercing two-hander “Daddio,” we’re reminded that Johnson is a stunning screen presence who is capable of truly fine work, if provided with the right material.
“Daddio” has a deceptively simple premise: A young professional woman (Johnson) who never gives her name arrives at JFK airport one night and climbs into a taxi driven by the craggy-faced and talkative Clark (Sean Penn), who drives her to her home in Hell’s Kitchen.
That’s it. That’s the movie. Sean Penn driving, Dakota Johnson in the back seat, with their respective characters engaging in conversation that ranges from superficial pleasantries to light banter to an increasingly high-stakes game of emotional reveals about their lives, their triumphs, their disappointments, their heartbreaks. It’s kind of like “Collateral” without the killings, or “Locke” if Tom Hardy picked somebody up along the way.
Director-writer-producer Christy Hall initially conceived “Daddio” as a stage play, and it’s easy to envision two actors just sitting in chairs on an otherwise bare stage and executing this material. That formula could be problematic for cinema, but, thanks to Hall’s exquisite timing and great uses of closeups, as well as the brilliant cinematography by Phedon Papamichael and the hauntingly effective music by Dickon Hinchcliffe, “Daddio” never feels static, even though we see the world outside the cab only occasionally, and briefly.
Clark is immediately drawn in by, I guess we’ll just call her The Woman, because she doesn’t immediately bury her face in her cell phone and she seems present in the moment — though that changes as the ride continues. Not that Clark is hitting on her, though he clearly finds her attractive; “Daddio” steers clear of such skeezy developments in favor of a more nuanced dynamic.
Clark becomes more of a father figure to The Woman, calling out her B.S. when he learns the particulars of her complicated romantic relationship — though the tables are turned when The Woman probes into Clark’s past, most notably his first marriage. (When Clark is asked if he misses his ex and he says simply, “Sometimes,” we hear, “Always.” Senn Pean can famously go huge with his acting choices, but he can also convey a universe of context with a single word.)
To be sure, there are moments when we just have to buy into the conceit of two strangers revealing so much to one another in such articulate fashion, but Clark essentially addresses that issue when he says, “It’s not like you’re ever going to see me again.” Sometimes it’s a lot easier to be honest and open with someone you’ve just met rather than the people to whom you’re the closest. Dakota Johnson holds serve in every exchange with Sean Penn and they bring out the best in each other. This is a simple film, but a special one.
