Here’s Where To Watch ‘The Son’ (Free) Online Streaming at Home – Film Daily

[ad_1]

Watch The Son Online: The internal turbulences of a family and how they mold and guide the human psyche have been one of the most authentic and harrowing themes art has had a thing for. And films are no different. One can even argue that movies are at their most vulnerable and affecting form when they explore and intrude into the lives of characters when they’re at their most unmasked state–that is amongst family.

➤ ► 🌍📺📱👉 The Son 2022 Movie Watch

➤ ► 🌍📺📱👉 The Son 2022 Movie Download

Read more to see all the sites where you can watch The Son online right now. You can also see the cast, crew, plot and release date for The Son on this page

So it seems like a colossal inconvenience when his son from a previous marriage starts having serious behavioral and emotional problems. The 17-year-old boy, played by Zen McGrath, is truant, depressed and a little bit spooky, and his mom (Laura Dern) can’t handle him anymore. Next thing he knows, Peter’s idyll with his new wife is interrupted when his teenage son comes to live with them.

At the time of writing, The Son is not available to stream on Hulu through the traditional account which starts at $6.99. However, if you have the HBO Max extension on your Hulu account, you can watch additional movies and shoes on Hulu. This type of package costs $14.99 per month.

The movie’s distance from the boy’s internal struggle also serves to emphasize the loneliness of it. With the possible exception of being a ghost in the land of the living, there’s nothing more isolating than being mentally ill — and nothing more perplexing than someone else’s mental illness.

When Zeller was directing “The Father,” he found cinematic ways to emphasize what he could only suggest in the original stage play. But one gets the sense that “The Son” loses something in the translation from stage to screen. It feels talky and confined, not in a bad way but enough to notice.

I’m a different parent now because of it,” Jackman told Stephen Colbert on The Late Show. “I think I’m more open to being vulnerable with them, saying things like ‘I’m not sure’ or realizing that sometimes I may be preoccupied by something going on with me.”

The film’s story inspired Jackman to be more up-front with his children because he doesn’t want them to ever think they did something that upset or unnerved him.

Whereas “The Father” dealt with dementia, “The Son” tackles the similarly difficult topic of depression. And it tells a much more straightforward story. With one exception, there are no scenes where you will question the reality with which Zeller is presenting you.

Unfortunately, though, the contrived nature of the film’s climactic stretch takes away from much of the more subtle work that precedes it. It’s a bit of half-baked storytelling, consisting of a situation that rings only somewhat true and feels designed primarily to get the viewer quickly to a resolution that feels almost inescapable.

It’s a frightening moment when a parent realizes they don’t know their child at all. It’s also scary to be a child dealing with an undiagnosed mental illness who realizes their parents don’t really see them at all.

In Florian Zeller’s “The Son,” Peter (Hugh Jackman) and Kate (Laura Dern) are divorced parents co-parenting 17-year-old high school student Nicolas (Zen McGrath) in New York City. Between Nicolas’ deep unhappiness and secret monthlong truancy, he’s more than Kate can handle on her own. Kate’s scared of him and the hate she believes she sees in his eyes.

She enlists Peter — whom she’s described as abandoning his son since the divorce — to help Nicolas return to homeostasis. Taking time away from mom, with the dad he rarely sees, and enrolling in a new school would surely cure him of his teenage angst.

He asks big questions, but doesn’t offer easy answers. This has thrown off some audience members who want the film to conform to familiar movie scenarios, or at least to follow the pattern of Zeller’s 2020 “The Father,” with questions about what’s real and what isn’t, and a big twist partway through.

Zeller makes some odd choices with his second film that further drag things down. The visual style is uncomfortably antiseptic in appearance, meaning there’s no interesting distractions to maintain flagging audience interest. The sound mix makes the puzzling decision to keep a lot of natural city noise in, leading to some scenes feeling like they were shot next to an active construction site. Dialogue (courtesy of screenwriter Christopher Hampton’s adaptation and translation) often has the tin-eared sound of voiceovers coming straight from public service announcements.

But worst of all, The Son proves to be a no-win situation all around. If Zeller goes in the direction the film is always heavily and obviously pointing towards, it will make the whole thing feel useless and futile. If Zeller doesn’t end up going there, The Son ends up feeling like a waste of time that says nothing and does nothing. Around the halfway point of The Son, it dawned on me that this material and approach

It’s a great idea for a film: what happens when an emotionally and physically distant parent suddenly has to care for a child that can’t explain what exactly is wrong with them? Jackman is quite good as the father, and McGrath exhibits talents akin to a younger Paul Dano as the troubled young man, but The Son doesn’t do well by either of their efforts. Instead of letting the characters breathe, progress, and eventually converse, Zeller (once again adapting one of his own plays for the screen) becomes so resolutely focused on creating and maintaining an over-the-top mood that the performances get lost amid a lot of unnecessary noise.