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    Movie Review

    Beautiful Boy haunts with impact of drug use on one family

    Alex Bentley
    Oct 26, 2018 | 4:45 pm
    Beautiful Boy haunts with impact of drug use on one family
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    The horrors of drug addiction have long been chronicled in movies, ranging from the now-campy Reefer Madness to the brutality of Requiem for a Dream. It’s not often, though that much attention is paid to how a person’s addiction can affect their loved ones, as is the case in Beautiful Boy.

    Based on the memoirs of both David Sheff and his son, Nic, the film mostly chronicles a period in the late teenage years of Nic (Timothee Chalamet) when he goes down a rabbit hole of drugs from which he can’t escape. David (Steve Carell), a freelance writer for publications like The New York Times and Rolling Stone, tries everything he can to stop Nic from using, mostly to no avail.

    David and his ex-wife, Vicki (Amy Ryan), have been divorced since Nic was young, with David retaining custody. David has gone on to marry Karen (Maura Tierney), with whom he has two young kids. Despite this wealth of support, Nic gets deeper and deeper into drug use, culminating with what’s considered one of the most addictive drugs, crystal meth.

    Directed by Felix Van Groeningen and written by Van Groeningen and Luke Davies, the film takes a meandering journey through those years, with a number of flashbacks to earlier, happier times when Nic was young and innocent. While highly effective in tugging at the heartstrings, the flashbacks also serve to muddle the overall timeline. Most of the film is a flashback from an opening scene, so the bouncing back and forth does no favors in keeping the chronology of events straight.

    The story is unrelenting and unflinching right from the start. When we meet Nic, he’s already started his descent, so we’re not privy to knowing exactly what he was like when not on drugs, despite a few expository lines. Consequently, there’s something just a bit off when the film tries to go all-in on its emotions. It’s almost as if Van Groeningen is keeping us at arm’s length so we don’t receive the full brunt of feelings.

    Any parent will likely struggle watching the film, whether you’ve had the same experiences or not. The helplessness that David feels as Nic gets farther and farther away from the boy he knew is gut-wrenching.

    Left mostly unsaid in the film are any factors that might have led to Nic’s drug use. Might it have been the impact of the divorce, something that affected Nic years later despite a multitude of love? A scene of David and Nic sharing a joint is included, but it’s unclear if the filmmakers are trying to point to that as a causation, or merely one step in Nic’s drug usage.

    Through it all, the acting is impeccable. Chalamet was already hailed as the next big thing following his roles in Call Me By Your Name and Lady Bird in 2017, and this role only cements that status. Carell proves once again what a versatile actor he his, easily moving back and forth between drama and comedy. Tierney and Ryan are also great in their supporting roles.

    Like most films about drug addiction, Beautiful Boy is not a film you’ll likely want to watch more than once. Despite some faults, it’s a nicely layered film that should make anyone want to stay as far away from drugs as possible.

    Maura Tierney, Timothee Chalamet, and Steve Carell in Beautiful Boy.

    Maura Tierney, Timothee Chalamet, and Steve Carell in Beautiful Boy
    Photo by Francois Duhamel
    Maura Tierney, Timothee Chalamet, and Steve Carell in Beautiful Boy.
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    Movie Review

    George Clooney shines in Jay Kelly, a sharp and heartfelt look at fame

    Alex Bentley
    Nov 21, 2025 | 3:00 pm
    George Clooney in Jay Kelly
    Photo by Peter Mountain/Netflix
    George Clooney in Jay Kelly.

    The life of a celebrity is paradoxical in that your life is lived in the public eye, yet who you really are is almost unknowable. Movie history is littered with films that try to dig into the private lives of real and fictional actors, with varying results. The latest film to try to unearth what it means to be famous is Jay Kelly.

    In a perfect bit of casting, George Clooney stars in the title role as an actor who’s still world famous even if he’s edging toward the downside of his career. His coterie of helpers, including manager Ron (Adam Sandler) and publicist Liz (Laura Dern), make sure he is taken care of at every turn, often anticipating his needs before he realizes it.

    A run-in with an old friend, Timothy (Billy Crudup), sends Jay spiraling, questioning not just the meaning of his 35-plus year career, but also his relationships with his two daughters, Jessica (Riley Keough) and Daisy (Grace Edwards). Jay’s attempt to manage the crisis pits his identity as a celebrity and as a father and friend against each other.

    Written and directed by Noah Baumbach, and co-written by Emily Mortimer (who has a small role), the film has to walk the tightrope of making the audience like Jay even as he does and says things that might make him unlikable. There’s a very thin line between the character of Jay Kelly and the real life George Clooney; each is seemingly infinitely charming when dealing with the public, but they lead very different private lives.

    Baumbach takes a light approach to the story, occasionally dipping into more serious territory but never going too deep. For some, this may seem like a copout, as if he’s merely pretending to want to explore what celebrity truly is. But as you see Jay navigate his way between his work, his family, and being out among the public, little details emerge that make him increasingly complex.

    A lot of the film’s pleasure comes from the strong actors cast in relatively minor roles. There are not enough words to express what it means to have actors like Jim Broadbent as Jay’s mentor, or Greta Gerwig as Ron’s wife, or Stacy Keach as Jay’s father, or Patrick Wilson as a fellow longtime actor. Each of them and more lend an instant air of excellence to the film that elevates the story beyond its simple premise.

    Clooney may be playing a version of himself, but as the film notes on multiple occasions, playing yourself is more difficult than it seems. He is deserving of an Oscar nomination, as is Sandler, who doesn’t give off even a whiff of insincerity as a man who has given perhaps a bit too much of himself in aid of another man’s career.

    Jay Kelly is not a world-changing film, and some may accuse it of being another navel-gazing Hollywood story. But the forcefulness of Clooney’s performance, the long line of strong supporting actors, and the subtly effective storytelling by Baumbach and Mortimer (making her feature screenwriting debut) help it become much more than might be expected.

    ---

    Jay Kelly is now playing in select theaters. It debuts on Netflix on December 5.

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