in bloom

Rock icon Bono's daughter makes her own sweet music in Flora and Son

The new Apple TV+ film Flora and Son centers on a single mother and her teenage son, a situation that typically calls for an uplifting story about the mother’s struggles trying to support the two of them, and the bond that develops between them as go through the troubles together. While that element exists somewhat here, it goes down a much different path that’s both saltier and equally as rewarding.

Photo courtesy of Apple TV+

Eve Hewson and Oren Kinlan in Flora and Son.

Set in Dublin, Ireland, the film follows Flora (Eve Hewson), a single mom to Max (Oren Kinlan), who gets in a fair bit of trouble. She shares custody with her ex, Ian (Jack Reynor), and their antagonistic relationship, along with Max being a teenager, likely has an effect on how Flora and Max get along. A typical interchange between mother and son has them calling each other all sorts of bad names, although there rarely seems to be any true animosity behind their arguments.

When a guitar Flora refurbishes for Max goes unappreciated, she instead starts taking online lessons herself with an American named Jeff (Joseph Gordon-Levitt). She’s no less brash with him, but her sincere interest in learning how to play and in finding out more about Jeff’s music opens a new door for Flora. Soon, a discovery that Max is making music of his own on his laptop helps them communicate better than they have in a long time.

Flora & Son is the latest music-focused film from writer/director John Carney (Once, Sing Street), and he once again finds the sweet spot in telling a personal story enhanced by song. Flora has more than a few rough edges, making her a less-than-ideal protagonist, but the heart of the character shines through precisely because she has no filter. Once music is added to the equation, it become that much easier to see the type of person she is and why you should root for her.

Both Hewson and Gordon-Levitt are charming actors, so they establish a connection through a screen well. Fortunately, though, Carney chooses not to leave it at that, adding a slight fantasy element to some of their scenes by having Flora imagine Jeff in the room with her. A romantic element naturally arises, but it’s the unexpected way in which two lonely souls find each other from across the world that makes them the most interesting.

There are a couple of decent songs that come out of the process of all of the music-making, but nothing that you could truly call an earworm. Instead, it’s the feeling you get seeing the characters interact when they’re sharing music with each other that makes the film sing. Only one character could be classified as a professional musician, with the rest of them making music for the pure joy of it, an emotion Carney translates well in his storytelling.

Hewson (the daughter of U2’s Bono, in case you were unaware) is having a moment after 15 years in the business. She has a boldness that serves her as well in this role as it did in the recent Apple TV+ limited series, Bad Sisters. This is Kinlan’s first major part, and he acquits himself well. Both Gordon-Levitt and Reynor are seasoned actors who know how to make the most of their limited scenes.

The depiction of a mother/child relationship in Flora and Son is atypical, but it still winds up in a great spot thanks to the power of music and some fine performances. Carney’s love for both songs and filmmaking has yielded some memorable movies over the years, this one included.

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Flora and Son opens in select theaters and on Apple TV+ on September 29.

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Movie Review

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

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.

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

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