★★★★½
Jordan Firstman’s Club Kid is an inside look at the world of addiction, responsibility, family, and the life-altering moments that forever change the way we see the world.
While on the surface, Club Kid is an R-rated take on Big Daddy, underneath is a very real insight into how change is inevitable but unreachable until a greater force is thrust upon us. Offering a character-driven narrative that is deeper, darker, and grittier than the nineties Sandler comedy.
Along with starring in the film, Firstman also directs and pens the script, which follows Peter, a hard-partying New York club promoter whose life is uprooted when he is given custody of his ten-year-old son, whom he never knew he had, after the passing of the child’s mother.
While the storyline isn’t necessarily original, it follows pretty much the same construct as Big Daddy: a guy in his thirties whose life revolves around partying, having a good time, and avoiding real responsibilities. Living in an unrealistically huge New York apartment that he can somehow afford despite not having a real job.
Losing something significant to him right before the kid comes into his life, only to try to use the kid as a token of newfound responsibility and a new outlook on life. Only to later be genuinely influenced by the kid and his newfound purpose in life.
“Firstman’s approach to the script, making it a character study over a comedy, is what separates the two.”
Firstman’s approach to the script, making it a character study over a comedy, is what separates the two and distinguishes the tone and uncomfortable complexity Firstman brings to the table.
From the opening scene, Firstman establishes the tone through not only the score but also the cinematography, which is captivating.
Adam Newport-Berra’s work behind the camera helps Firstman set the tone for his vision by capturing this well-crafted, continuous 360-degree pan of the entire interior of the Uber, along with the city skyline as they drive to their next destination.
The brilliance of the continuous panning shot is its ability to capture the chaos of the drunken Uber ride. The endless possibilities of an ever-going night, where the party never stops and the possibilities are endless.
Doubling as a great visual representation while also capturing part of the issue in plain sight that often goes unnoticed: instant freedom.
I think the Uber scene, while some may call it a mere transitional sequence, holds greater context and responsibility for the underlying characteristics of Peter. It also holds a deeper subplot about modern adults, self-loathing, and escapism in a world where everything is just a click away, and we’re never forced to confront ourselves.
The film makes it clear, through subtle dialogue and moments, that for Peter, it’s not his phone, like it is for so many with doomscrolling. It’s the partying and never taking time to come down. Something that has become increasingly more accessible since the rise of Uber and technology.
I came of age shortly before Uber and Lyft were around and have seen just how drastically they changed the game, especially in the sense of escapism, allowing the party to go on.
There are moments throughout the film where we get to see the character reveal parts of himself in small increments: his authentic self, not the persona that he’s created and hides behind.
“There are moments throughout the film where we get to see the character reveal parts of himself in small increments: his authentic self, not the persona that he’s created and hides behind.”
This showcases the personal issues he faces and how he’s trying to cope with them. Something that I believe is an authentic representation of using consistent partying as a coping mechanism.
Firstman’s script captures the essence perfectly and is spot-on, which I believe will resonate with some while offering insight to others. An insightful look at where everything blurs together and only becomes clear when the metaphorical music stops, for one reason or another.
While the person he is before his son comes into his life is essential to the character arc, it’s the moments that happen afterward and how he tries to become a better person because of them that matter.
Yet at no time does the film try to simulate this false sense that he changes. It’s not some magical parental instinct.
It’s a real, selfish, and honest look into his humanity. His son was the first person to see him as somebody with self-worth, making him believe that he had value outside of what he could materialistically offer.
“It’s a real, selfish, and honest look into humanity.”
Showcasing true human emotional flaws without trying to sugarcoat his motives. Yet offering insightful moments beforehand that justify his character as a decent and caring human being who simply struggles with his own self-worth, not a manipulative narcissist.
Firstman makes a stellar directorial debut, crafting an intimate drama about the struggles of self-loathing, finding self-worth, and finding one’s way.
Paired with an exceptional score by Cristobal Tapia de Veer that not only captures but also captivates the eternal essence and tone of the film, adding an additional layer of emotional weight to the already complex narrative.
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