With a setup almost entirely contained within the confines of a New York City taxicab, Daddio, directed by Christy Hall, takes a bold narrative risk. Though boasting the star power of Sean Penn and Dakota Johnson, the film aims for a poignant, real-to-life portrayal but struggles to maintain momentum throughout its 1 hour 41 minutes runtime.
A Luminary Cast in a Stagnant Story
Despite an uninspired script, both Penn and Johnson manage to inject emotional depth into their roles. Penn portrays Clark, a gritty cab driver whose rough-edged exterior is a contrast to Johnson’s character, Girlie – a sophisticated young woman journeying from Kennedy Airport to midtown Manhattan.
Penn’s character is notably nosy, as he peppers Girlie with personal questions while venting about his displeasure with modern conveniences like credit cards and rideshare apps. Initially reserved, Girlie gradually thaws to Clark’s unconventional charm, leading to increasingly intimate – albeit sometimes implausible – conversations.
The Unremarkable Encounter
The interactions between Clark and Girlie attempt to break down barriers of age, gender, class, and education, providing moments of clarity that feel relatable and raw. Nonetheless, some parts of the dialogue lack authenticity. The film’s most striking feature is Phedon Papamichael’s cinematography, which adds visual allure to the otherwise confined setting. As Papamichael noted, director George Clooney’s similar workflow was a reason for their collaborations.
I think George liked the way we worked on Descendants,” says Papamichael. “With Alexander it’s an uncomplicated, fast, fun set – no egos. George runs a very similar set. He likes to fool around, but he is also the ultimate professional.
The Overemphasized Mundane
Ultimately, Daddio fails to sustain interest despite its promising foundation. The film endeavors to portray a meaningful connection forged through an ordinary circumstance but falls short due to its excessive focus on mundane details. Sean Penn’s able performance ensures that Clark’s inappropriateness never veers into predatory territory while Johnson’s expressive acting brings life where the script falters.
The film’s climax feels unearned; it poses as if talking to strangers could solve overarching issues but ends up simplifying complex societal dynamics without offering new insight. The gimmick of displaying text messages on screen can grate on viewers more than enhance their experience, as it overshadows the screenplay’s few innovative aspects.
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