Wildflower, 2023.
Directed by Matt Smukler.
Starring Kiernan Shipka, Alexandra Daddario, Charlie Plummer, Jean Smart, Jacki Weaver, Kannon Omachi, Dash Mihok, Reid Scott, Samantha Hyde, Ryan Kiera Armstrong, Brad Garrett, Chloe Rose Robertson, Chris Mulkey, Amanda Jones, Josh Plasse, Clayton Royal Johnson, Kimleigh Smith, Sanjay Nambiar, and Erika Alexander.
SYNOPSIS:
A coming-of-age film that follows Bea Johnson from birth to graduation as she navigates life with an intellectually disabled parent and an extended family who can’t quite agree on the best way to help.
Teenager Bea Johnson (Kiernan Shipka) has more than a dysfunctional family; her parents are intellectually disabled. Wildflower director Matt Smukler (expanding a story inspired by true events alongside screenwriter Jana Savage) does get one aspect right in casting intellectually disabled actors Samantha Hyde and Dash Mihok as the parents, but not much else about those characters, beginning the film on the wrong note and somewhat recovers, but that sour taste never leaves.
The issue is that these specific types of movies advocating that there is more than meets the eye to disabled people need to stop centering able-bodied characters who must learn about their capabilities. That’s not to say Wildflower would have been better if it did center on intellectually disabled parents Sharon and Derek, because truthfully, in this case, that might have resulted in a more insulting film given the script’s penchant for treating them as comedic devices to laugh at despite trying to make a point that they are not as helpless as their daughter perceives them. Thus far, the exception to the rule is CODA, which saw its disabled characters as grounded and realistic human beings where the comedy came from their personalities and punching down at able-bodied perceptions. Wildflower is no CODA by any stretch of the imagination.
Unfolding through a narrated series of flashbacks after introducing Bea in a coma where she is looking to regain her memory of what hospitalized her, the story starts before she was born. Sharon, who was roughly 21 with the mindset of an early teenager, saw Derek, who became intellectually disabled following a car-related injury, doing some work outside their house, thought he was attractive, and decided to date him. Sharon’s mom (Jean Smart) supported this, aware that her daughter still needs to make friends, whereas her father (Brad Garrett) was mortified that *gasp* disabled people might have sex and potentially procreate. Thankfully, the film is aware some of these characters are wrongheaded.
A few scenes later, the entire family has come together (including Derek’s no-filter mom, played by Jacki Weaver, doing her usual comedic routine that doesn’t quite fit here), surrounded by a baby named Bambi. Sharon and Derek may have named their child Bambi in real life; that’s not the upsetting part. What’s frustrating is that the screenplay can’t resist using this as a joke to point out how childish they are and unfit they are to be parents (including a quick shot of Sharon almost dropping the baby off the couch onto the floor), which makes the inevitable revelation by Bambi/Bea that they can take care of themselves come across as hollow bullshit, not because that may or not be true, but because this film is only concerned with turning the parents into a joke and not taking the required steps to prove that they are capable parents beyond briefly mentioning that Derek can hold a job.
Wildflower‘s first act is aggravatingly insulting to such a point where you can’t hold a grudge against anyone that doesn’t even make it to the section of the narrative where Bea is a teenager played by Kiernan Shipka. Fortunately, her character is far more engaging, naturally dealing with bullying for having disabled parents and not always fitting in at school (although she does have a supportive best friend played by Kannon Omachi). Shortly after, cancer survivor Ethan (Charlie Plummer) transfers to the school. The two quickly develop a believable relationship with strong chemistry based on being outsiders (apparently, Ethan only has one testicle from enjoying the cancer treatments).
As such, Wildflower functions better when it’s about Bea understanding what relationships are and not being afraid of chasing dreams. At one point, she discusses one uncomfortable version of the future with her boyfriend, causing an argument, but her reason for suggesting that sadly comes from the only way of life she has known; those are the dramatic moments that feel real and are something Wildflower should have leaned into more. There are also the usual coming-of-age clichés, such as an important school essay and a wise high school superintendent. Low psychological moments arise from life’s pressures that bring Bea into scary situations that prove to be a reminder of how awful men can be, providing a few thrills and a reprieve from the eye-rolling tropes.
Kiernan Shipka and Charlie Plummer are gifted and low-key enough to invest us in their familiar relationship; their performances make Wildflower watchable. The rest is tonally embarrassing and misses the mark, even if the work from Samantha Hyde and Dash Mihok is also affecting. Don’t blame any actors; the script and direction are lifted straight out of a corny mid-2000s inspiring drama with good intentions despite its misguided tone.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
