The Peanut Butter Falcon (2019) is an adventure comedy-drama from filmmakers Tyler Nilson and Michael Schwartz. It stars Zack Gottsagen, Shia LaBeouf, and Dakota Johnson in a heartwarming tale of a young man with Down Syndrome who teams up with his caretaker and an outlaw on the run for a cross-country journey to fulfill his dream of becoming a pro wrestler. It’s been described as a modern-day Huckleberry Finn retelling and one of the sweetest films of the decade, with rave reviews coming out of SXSW Fest and a surprise wide release this month. What has made this little tale such a runaway success?
I’m always intrigued by what behind-the-scenes processes lead to big-name actors signing on to a film project. Sure, this movie doesn’t have any A-listers, but it still boasts an impressive cast, from LaBeouf to Johnson to any number of bit parts played by Thomas Hayden Church, John Fawkes, Bruce Dern and more. Did these people really need the work? Did they owe the producers a favor? Or did they just really love the script? The optimist in me wants to believe the latter, so I went into this film assuming that this film does something unique and tells a story so powerful that it couldn’t possibly go untold. And I left a little bit confused, because while the story is definitely unique, it is still formulaic and cliche at every turn and didn’t strike me as a hot-button project that actors were jumping at the opportunity to participate in.
Now don’t get me wrong, this movie is a charmer through-and-through, and it plays very well to an audience. I may have many things to say against this film, but I still enjoyed it and understand why it has been such a phenomenon with audiences. But that doesn’t answer my questions about how two unknown writer-directors were able to wrangle such an impressive cast for a story this mundane. The only thing that really sets this film apart is the central character with Down syndrome; otherwise, you have a cookie-cutter story about two young men on the run getting into adventures and bonding. Not to say that you can’t enter a genre that has been done to death already; I just think you need to have a stellar script to back it up, which this film doesn’t really have.
My biggest gripe above all else is the dialogue, especially in the first act. It’s super on-the-nose with several blatant exposition dumps. There’s an especially-cringeworthy scene involving LaBeouf’s Tyler where a character essentially says to him, “Hey, remember your dead brother Mark?” The way a screenwriter handles such scenes speaks volumes about their skill, and that is an unfortunate red flag that screams of amateurism. Which, again, begs the question of how so many talented actors signed onto this project after reading such elementary writing! I’m aware that I’m backseat-quarterbacking at this point and don’t want to come across as salty or anything; I just hold filmmakers to a higher standard than myself and know for a fact that I would be laughed out of offices for pitching this script myself.
The story structure is also incredibly predictable and cliche; if the audience can predict where the story will go in the first ten minutes, you have a problem. A similar road trip flick, last year’s Oscar winner Green Book, got around this issue by ensuring the minutia of the script is sound so the audience is still surprised. Here, the filmmakers make do with humor to offset the formulaic nature of the story, which certainly helps its case but doesn’t paper over everything smoothly. Character motivations don’t always make sense; the central characters always act unerringly good even when it flies in the face of previous characterization, while the “bad guys” (aka the fishermen seeking rightful compensation for their destroyed property) act like cartoon villains with no redeeming qualities. The ending was also a bit unsatisfying; it hits the proper beats to end the film on a lighthearted note but rushes the moment and doesn’t provide proper closure for the events preceding it.
With pretty much all of the negatives out of the way, let’s talk about the positives, of which this film has many. The chemistry between the three leads, particularly between LaBeouf and Gottsagen, was infectious and single-handedly makes up for most of the problems I have with the film as a whole. I loved every scene in which they bantered about random nonsense; whether a scene was crucial to the plot or not, their back-and-forth was simply a delight. I also thought the romantic subplot between LaBeouf and Johnson, as obvious and predictable as it is, worked well thanks to some solid character work. Tyler’s tragic backstory and Eleanor’s sheltered unfulfilled life played off of each other well and made for a believable bond that drew them together. And while I still don’t understand why so many talented actors signed onto this project, I’m certainly not complaining because there isn’t a weak note anywhere. You could perhaps point to Gottsagen as the weak link, the lone non-actor of the bunch dealing with his own mental problems in real life, but the filmmakers worked around his limitations and he never bothered me with his performance.
While I don’t love the minutia of the script, the filmmakers do understand how to build and release tension at the proper moments. The film does have moments of darkness, but they are perfectly balanced out with the levity of the humorous exchanges in between. Whether it’s watching Zak struggle to shoot a gun, or Tyler laugh at his hijinks, or Eleanor watching on bemused as her ward comes into his own, there are innumerable moments of laughter that keep the story fresh. And these funny moments aren’t just obvious quips or low-hanging fruit; there are some clever setups and payoffs both within scenes and between them. A few moments did surprise me with a laugh or a smile in spite of myself thanks to some clever subterfuge or absurd happenings that make sense within the world.
This is definitely a world that feels “lived-in”, and the location does not feel random in the slightest. The filmmakers clearly have a passion for the area (particularly the Outer Banks of North Carolina) and wanted to show it off to the world in all its glory. There are some gorgeous shots of the locale, with several sequences of just characters travelling through vast wilderness as small parts of a greater whole. The music also adds to the atmosphere, with plenty of bluegrass and gospel and other Southern-style tunes to set the mood. I could almost smell the swampland and feel the fresh ocean breeze on my face during these scenes, which speaks volumes about the immersion of the film. Even though the script sometimes pulled me out of the experience, these quieter moments showcasing the scenery drew me right back in.
Man am I glad that Shia LaBeouf is back making movies, because he’s always been a fascinating figure to me. He’s super talented and easily the best performer of the bunch here, owning the role effortlessly and drawing me in with his charming demeanor while still giving weight to the heavier elements of his backstory. I hope this movie earns him enough respect to land major roles again, because given the right material he could give us something truly special that very few actors are capable of delivering. Hopefully 2019 is his “comeback year”, the year he comes out and proves he’s still serious about the work and has put his past troubles behind him. I’m not saying he’s about to pull a Robert Downey, Jr. and ascend to superstardom overnight, but he could easily be the next Joaquin Phoenix if he sticks with it and chooses interesting roles for himself with good filmmakers. I hope to god that he stays in the industry, because he could quickly become one of my favorite performers if he keeps doing what he’s been doing.
Conclusion
The Peanut Butter Falcon is a film I suspect will garner somewhat of a cult following over the coming years: an easy-to-watch crowd pleaser with strong performances and a heartwarming message. It features an impressive comeback performance from Shia LaBeouf (who I am now doubly excited to see in Honey Boy later this fall), great chemistry between the leads, and a whole lotta soul that keeps the film chugging along even when the writing isn’t all that great. The humor is definitely its strongest asset and elevates an otherwise-mediocre story to not just watchable but enjoyable fare. I may not recommend this to my cinephile friends, but it’s the kind of movie that’s perfect to watch with your parents and just enjoy some simple entertainment for an afternoon.
VERDICT: B-
All image rights belong to Roadside Attractions.
-Austin Daniel
Scriptophile 