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It’s difficult to portray addiction on screen because it’s such an insidious, internal disease that takes hold of the individual. We see the same types of manifestations of the damage it can cause, both to the victim and to the people who love the abuser, which results in filmic clichés that are overused.
“Beautiful Boy,” directed and co-written by Felix Van Groeningen, steers clear of the horrors of the past, instead depicting a young man’s struggles with methamphetamine as a series of sun-dappled, time-hopping vignettes. His father’s repeated attempts to pull him away from the cliff, each time with increasingly futile results, provide some semblance of a stable throughline for the story to revolve around.
It’s a heartbreaking true story that will undoubtedly resonate with viewers who have struggled with addiction in their own lives, as I have. However, there is a hazy detachment to Van Groeningen’s approach that prevents it from delivering the kind of emotional wallop that it appears to be aiming for. When done in a self-consciously artistic manner, it’s almost too pretty to be true, and the overriding aesthetic chokes out the underlying truth of the lead actors’ performances.
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David and Nic Sheff, played by Steve Carell and Timothee Chalamet, are a father and son who are brought to life by their performances that are deeply felt. The film “Beautiful Boy” is based on both of their memoirs: David’s Beautiful Boy: A Father’s Journey Through His Son’s Addiction and Nic’s Tweak: Growing Up on Methamphetamines, both of which are available online. Both men are writers—David Sheff has worked as a journalist for many years—and the specific details of their lives give their story a rich sense of specificity. Van Groeningen, a Belgian filmmaker whose 2014 film “The Broken Circle Breakdown” was nominated for an Academy Award for Best Foreign Language Film, creates a vivid sense of place in Marin County, California, which is located just across the Golden Gate Bridge from San Francisco and is remote and wooded.
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However, the non-linear narrative in the script, which was co-written by Luke Davies, deprives the story of its potential impact far too frequently. “Beautiful Boy” jumps all over the place in terms of time, cutting needlessly to flashbacks and flashforwards in ways that are more than a little confusing. They repeatedly take us out of the present moment, which is especially noticeable as the film builds to its emotional climax. Perhaps these snatches of recollection are meant to represent the characters’ internal state of chaos. They frequently elicit feelings of nostalgia for a more innocent and carefree era. Ultimately, however, they have the effect of detracting from the actors’ strong performances as a whole. Carell and Chalamet are both outstanding actors, and it would be wonderful to see them simply interact with one another for an extended period of time.
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“Call Me by Your Name” star Timothee Chalamet stars as Nic Sheff, a college-bound 18-year-old with a bright future ahead of him in his first major role since his breakout performance in the film. Mr. Bukowski and Kurt Cobain are among the poets who have inspired him. He’s young, beautiful, and tormented; enormously charismatic and wise beyond his years, he’s a bright young man with a taste for poetic depressives such as Charles Bukowski and Kurt Cobain. Chalamet is James Dean-ing the hell out of the role, twitching and rage-ing through highs and lows.
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Carell, who plays the father who is constantly attempting to save his son, goes through his own roller coaster experience. Because “Beautiful Boy” is told primarily from Nic’s point of view, he continues to be a mystifying mystery. Occasionally, there is hope, and then there isn’t, and then there is hope once more. The path from treatment to a halfway house leads to another relapse in the cycle of addiction. Anyone who has dealt with an addict understands what it’s like: you can love someone, but no matter how hard you try, you will never be able to fix them.
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Despite this, David struggles to accomplish his goal, mostly on his own but with some assistance from his artist wife (Maura Tierney), with whom he has two young children, and his ex-wife (Amy Ryan), who can only do so much to save her son by phone from Los Angeles, and their children. (With the exception of a chase sequence near the end, “Beautiful Boy” squanders its strong female characters to great effect.) In attempting to understand the appeal and dangers of this drug, David employs his skills as a veteran journalist, which helps to lift “Beautiful Boy” out of its melancholy abyss and give it some much-needed momentum. Given that he is mostly measured and methodical, the rare occasions when he erupts are even more unexpected.
However, the film relies on painfully obvious song selections to punctuate scenes and express the emotions of its characters far too often in the process. The songs “Heart of Gold” by Neil Young, “Territorial Pissings” by Nirvana, and a silky-smooth Perry Como cover of “Sunrise, Sunset” are among the highlights. When it comes to the soundtrack, it goes beyond providing commentary on the action and becomes actively distracting from it. More power—and beauty—could have been gained by taking a more understated approach throughout the project.
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