Director Tony Goldwyn opens his family drama “Ezra” in the warm, cozy comfort of a comedy club. Max (Bobby Cannavale) sits on a stool, a handheld camera zooming in as he tells jokes about his life, including some about his autistic son, layering truths with jokes and walking a tightrope of tones. It's an invitation from Goldwyn and screenwriter Tony Spiridakis to sit back and listen for a while as they unfold this heartfelt, funny, and sometimes heartbreaking story.
It is immediately established that Max fiercely loves his son, Ezra (William A. Fitzgerald, an autistic actor making his film debut). Throughout the events that follow, we never lose sight of him, and that understanding offers a sense of emotional security as the plot becomes increasingly important.
It's this placement, as well as the strong lead performances, that allows Goldwyn to thread the needle of a story that could potentially go off the rails. “Ezra” is about a father desperate to protect his son, who takes him on a cross-country road trip where they experience catharsis and healing. It's a fairly traditional road movie with a touch of “Rain Man”-style autism. Plus, the “road trip” is technically a kidnapping, as Max drags Ezra out of bed at his ex-wife, Jenna's (Rose Byrne) house, and the film never shies away from that reality—in fact, it's based on this perception. danger of increasing the dramatic tension and putting the characters in motion.
The kidnapping stems from a misunderstanding that leads to an unfortunate accident, along with Max's own traumatic triggers. It's never fully explained in the script, but frequently alluded to is Max's mental health issues, and possibly undiagnosed autism spectrum disorder, rumbling beneath the surface. His experience makes him a sympathetic father to Ezra, but it also somewhat hinders his ability to properly raise his daughter.
Upset that Ezra could be medicated with antipsychotics and placed in a special education school, Max assesses that doctors, pharmaceutical companies, and the state are colluding to keep him and his son apart. He's not necessarily wrong, but her desire to expose Ezra to the world and treat him like any other child clashes with Jenna's desire to provide her son with all the accommodations and treatments suggested.
Robert De Niro, left, and Bobby Cannavale in the film “Ezra.”
(John Baer / Bleecker Street)
Every character choice in “Ezra” is plausible because it comes from a place of emotional honesty, both in the writing and in the performances. We understand why Max acts in an extreme way and also why Jenna hesitates to call the authorities but she feels obligated to do so, because her characters are well established and perfectly played.
It's no surprise that Byrne and Cannavale, longtime real-life partners, have an easy chemistry, and that Cannavale and Robert De Niro, who plays his gruff father, Stan, have a brilliant, fast-paced New York-accented rapport. While Cannavale takes center stage as the complex Max, demonstrating his range and ability to lead a film, De Niro, as expected, is magnetic. He's not a very important role, but the performance of him is beautifully voiced.
Goldwyn has counted on these big guns to set “Ezra” up for success, and in addition to Cannavale, Byrne and De Niro, he has cast supporting actors like Vera Farmiga, Rainn Wilson and his “Ghost” co-star Whoopi Goldberg. who plays Max's agent. She calls him when she is away to inform him that he has been booked for Jimmy Kimmel's show and that he needs to be in Los Angeles in a week, extending their trip even further across the country. Despite Ezra's protests, the duo heads west, with Max convinced that he needs his daughter as a good luck charm for his performance. Meanwhile, Stan and Jenna hit the road in pursuit, and “Ezra” becomes a road adventure for a grieving odd couple.
Fitzgerald is fantastic as Ezra, a young man who clearly communicates his preferences and limits; He is often the only character who says exactly what he wants to say. Goldwyn's direction is confident in navigating the complicated tone that tiptoes through comedy and pathos. He pushes his style with cinematographer Danny Moder, using handheld close-ups for more emotionally intense moments and imparting a sense of gritty authenticity to a story that often requires a suspension of disbelief.
“Ezra” could easily descend into a cliffhanger, but Goldwyn avoids that with a rather pat ending, seemingly skipping a story beat in the denouement. You long for one more moment to conclude, but sometimes it's best to leave ourselves wanting more, avoiding the treacle and focusing on the heart (and humor) of the matter.
Katie Walsh is a film critic for the Tribune News Service.
'Ezra'
Classification: R, for language, some sexual references and drug use.
Execution time: 1 hour, 40 minutes
Playing: In wide release on Friday, May 31
