Daddio

In terms of craft and construction, Daddio is solid if familiar: the dialogue has some zip, but it’s never as naturalistic as it should be for a movie being played in a realistic style. As for the actors, they both do intelligent, affecting work.

As a feature-length conversation, “Daddio” lurches from one beat to the next; as a drama, it barely moves at all.

It's very fortunate that this is a two-hander with two very photogenic actors.

The truth is that “Daddio” gives both of them [Penn & Johnson] an unbeatable opportunity to shine and it is precisely thanks to them that the film works as well as it does. [Full review in Spanish]

While I never fully bought that the two characters would engage as intimately as they do, their conversation still kept me glued to my seat, the graceful sobriety of the final moments even bringing on a handful of happily empathetic tears.

Every woman I’ve ever known would start looking for an escape from a cabbie who turns as embarrassingly intimate as this one does—just as an impatient audience is likely to do with this movie.

Daddio is an imperfect journey: at times tedious, at others interesting, with the same emotional unevenness as a drive home from the airport. Its main issue is its attempt at being more than it ultimately achieves. [Full review in Spanish]

I’d rather have watched a movie about Dakota Johnson's Girlie giving up on transit and just walking all the way home.

Hall’s Daddio is an impressive debut feature. It is funny and touching and crass and moving and above all else a bold way to dive into a career as a director.

Writer-director Christy Hall’s single-location drama, originally conceived as a stage play, is a charming and, occasionally compelling, tale of two disparate people making a connection.