Directed by:
Matt RossScreenplay:
Matt RossCinematography:
Stéphane FontaineComposer:
Alex SomersCast:
Viggo Mortensen, George MacKay, Annalise Basso, Nicholas Hamilton, Shree Crooks, Samantha Isler, Charlie Shotwell, Frank Langella, Ann Dowd, Steve Zahn (more)VOD (5)
Plots(1)
Deep in the forests of the Pacific Northwest, a father (Viggo Mortensen) devoted to raising his six kids with a rigorous physical and intellectual education is forced to leave his paradise and enter the world, beginning a journey that challenges his idea of what it means to be a parent. (Entertainment One)
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Reviews (13)
This typical “Sundance movie” is a feel-good tragicomedy with a nice soundtrack, eccentric but likeable characters and a predictable ending. The raw opening scene depicting the first of a series of rituals aimed at preparing Bodevan for his entry into adulthood gives the viewer hope that Captain Fantastic will be more truthful than ingratiating, while not offering any wonderfully easy solutions to complex problems. But from a celebration of life outside of the system that strips people of their individuality, the film soon collapses into a hackneyed story about the necessity of socialisation and respect for social conventions. The characters may not be willing to accept the norms of the world that they have scorned for so long without question, but their transformation is still tied to their subordination to the dominant ideology. Though the director sensitively spreads the attention among all of the members of the family, led by Mortensen’s practically perfect protagonist (whose mythologisation, already evident in the film’s title, is not problematised by Ross), he cannot disguise the fact that his characters serve mainly as walking arguments in support of the conservative idea of the importance of a happy family. Thanks to its pleasing shot compositions, slightly cynical humour, reasonable amount of pathos and well-timed use of upbeat music, the film evokes the intended emotions, but these quickly fade, because Captain Fantastic is not built on a convincing foundation. We can believe neither in the characters, who too easily give up everything they have fought so long and hard for, nor, because of that, in the would-be non-conformist, anti-consumerist message. 70%
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No world is complete until it encounters other worlds. Liberation of food and the dead, Santa Chomsky, self-awareness worse than unconscious selfishness, and deviations from the chosen path reveal the thin line between pretense and conviction. When there is left-wing anarchist resistance against capitalism, it has to be done in a pedaled bus! Alex Somers, with a hint of Sigur Rós, provides a fitting audio component, while Mortensen, even while showing a pair of elderly folks a small Dúnedain, offers stimulating ambivalence. His final scene at the dinner table bears a certain parallel to that in A History of Violence. The past is gone yet forever with us.
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I ignored this one for a long time, but after watching it I'm almost tempted to go up to 5 stars. I don't think anyone will forget this family that has lived in the woods for 10 years. The parenting style was very unconventional and I think it could have easily been functional. Viggo Mortensen was absolutely amazing and his intellectual dialogues took my breath away at times, every dialogue is a powerful and thought-provoking thing. The kids were Oscar-worthy and the knowledge that 8 year old girl has of politics and law made my chin drop. Very good in places and perversely funny. 85%.
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Back in my day, The Addams Family used to be a comedy. Cynicism aside, though, because this is such a perverse midcult that a few of its pernicious aspects need to be listed. Primary among them is the appalling hypocrisy, in the name of which the film masquerades as an anti-mainstream alternative, but uses virtually every means to appeal to the widest audience, including the last dumbass in the back of the theater, for whom most Sundance films are otherwise a junkie bore about nothing. Indeed, the film carefully monitors the length of each scene lest it accidentally become boring, repeatedly demonstrates the glorified otherness of the Cash family through food, permanently rips the over-smart kids to shreds as evidence of superiority, and, most importantly, doesn't allow the protagonist to see his missteps from anyone but himself. This questionable aspect, however, is never capitalized upon critically, but only melodramatically. To see him as a dangerous, idealistic fool who, despite everything, deserves our appreciation through his diligence and conviction, is impossible; it thus arouses a provocative ambivalence, because for over half of the running time he fulfills the role of messiah, and the film gives him credit for being right by putting only obstacles in his way that he can use to demonstrate his truth. So much that, as a result of the isolation, the traumatic experience of his eighteen-year-old son's first love is rendered as a humorous cutesy scene, one of the many colors of their unbridled ride through America. The seemingly interesting concept of a post-hippie commune in response to consumer society is thus watered down into a mishmash of topics to be discussed by moms over a shelf of fair trade food with a baby strapped to their chest and three credit cards in an embroidered bag with Peruvian motifs.
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Thematically similar to Wild and Into The Wild, i.e. an individual with different views, attitudes and philosophy of life, going against the established practices and standards of modern society. It's a bit of an agitprop for organic life, a bit of a tribute to the hippies and a bit of a backwoods romp. Most of all, though, it's a surprisingly functional family drama about unconventional family practices and a different approach to life that's very raw in some scenes while brilliantly contrasting the typically capitalist mannerisms of the contemporary bourgeoisie, a superbly typecast American middle class, and a family of pragmatic, penniless scrappers living in the woods who are seemingly depraved in every way, but not really. The greatest virtue is that the director manages to put all these typologically selected life practices into one plane and extracts the positives and negatives from both in equal measure. So, in the end, the viewer is served with a plethora of consistent, very interesting opinions and scenes that are entertaining in their inner charge, thought-provoking message, and are healthily spiced with great acting performances. Thankfully it clearly doesn't side with nature, whereas the older brothers have it in their name and it's clear what it looks like afterwards. Mortensen and co are nuts, but they have brains, they know why they're doing it and you root for them.
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