![]() Experimental, but not unheard of-especially if everyone else filmed was participating in that collaborative tradition. Not having a script required McAvoy to rely on his well-honed ability to tap into whatever emotion a scene requires, and his unknown detective instincts as he tries to figure out what happened to his boy. My Son is not just an opportunity to revisit the excellent improv game Give Me Back My Son, but a film inexorably linked with improv as a technique. ![]() We might not be making choices here, aside from the questionable one to sign up for Peacock and turn on this movie, but ostensibly, McAvoy is through his mostly on-the-spot performance. Players make choices, or at least take actions that have repercussions. Also linking the two forms is the line between active and passive spectatorship that separates even the most “cinematic” games from movies. ![]() ![]() In fact, it’s a lot like how you might design and write a videogame, where you limit a player character’s options and set their stage in order to guide them along your story’s arc with a (hopefully) invisible hand. And if we dig into the gimmick that makes it so interesting, we can piece together why its inevitable compromises make it so boring.Īs quickly becomes apparent as you watch, the way you have to make a movie in order to make it navigable for an actor with no idea what the hell’s going on is very specific. The experiment’s a dull watch, but it’s far more fascinating a case study than it is a piece of drama. It’s like he’s a Marvel star that won’t stop leaking plot points. The cast and crew are fully informed, but he only has the vaguest idea of the story: His son is missing. Writer/director Christian Carion remade his own 2017 thriller Mon Garçon, which presents its lead Guillaume Canet with the same conceit, throwing McAvoy into the dramatic deep end. My Son, the Peacock streaming movie to which star James McAvoy was not given the script, is like watching someone play a personalized, feature-length narrative videogame.
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