Daddio is shot in the interior of a yellow taxicab on its way from JFK Airport to an apartment in Manhattan, a trip that normally takes forty minutes, with traffic. However, on this late night, the trip stretches to one hour and forty minutes because of a car accident. Not only does the movie take place in the cab, but most of the shots are of Clark (Sean Penn) and his passenger whom he calls Girlie, (Dakota Johnson).  A few times, Clark turns to address Girlie, however, for the most part, viewers see their faces side-by-side, both looking forward.

            You might think this is the set up for a boring movie. Not so. I never felt claustrophobic or bored. The chemistry between the two performers was mesmerizing because of their great acting skills, and because of the talented Christy Hall who is both the writer and director of the movie.

Against all odds, narrative tension is high throughout the film. Hall builds tension in three ways: by the micro expressions and gestures of the two actors, by building anxiety as to whether Clark presents an imminent danger to Girlie, and by the dialogue Hall has written, which starts out with mundane exchanges but slowly intensifies into more intimate revelations.

 Hall shot the scenes in chronological order, which is unusual. The film unfolds in a way that feels like real time, with no flashbacks, no inclusion of other settings–nothing except for what we see and hear right before us in that tiny cab. 

Initially, Clark and Girlie share gripes about cell phone use, credit cards, and self-driving cars. But soon, crusty and foulmouthed Clark is making crude comments about past wives and is asking Girlie intrusive questions. Listening to him made the dials on my creep-o-meter start spinning. What are Clark’s intentions toward Girlie?

At one point, Clark states Girlie seems like a person who can take care of herself. In fact, she says so herself. She doesn’t wilt when he makes his crass remarks. Girlie names them for what they are, responding with appropriate disgust. Interestingly, she doesn’t retreat from engaging with him. Their conversation morphs into a truth or dare game, each person taking turns one upping each other with true stories. The revelations become surprising and intense, dispelling any assumptions viewers might have held about Clark or Girlie.

Christy Hall’s impressive writing and directing is on full display in this film. Her prose is sharp and economical, each word of the dialogue hits its mark. Both characters shift regarding vulnerability and world view. The tone of the dialogue modifies to reflect that shift, which makes the character changes both credible and deeply moving.

In the hands of an inept director, this movie would have been unbearably dull. Fortunately, Hall conveys volumes with nuanced facial expressions, hand motions, (like Clark incessantly drumming on the steering wheel), and perfectly timed texts from Girlie’s yucky boyfriend. Even the occasional shots of the exterior of the car, especially the car crash scene, complements what’s happening inside the cab.

This movie contains rough language and some gross texts from Girlie’s reprobate boyfriend. So, it’s probably not the best choice for family movie night.

I had hoped for a different ending. However, what I had envisioned wouldn’t have been as true and deeply satisfying as the ending that Hall wrote.  All in all, this movie turned out to be 140 minutes well spent.

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Check out more reviews:  His Three Daughters, The Perfect Couple, Presumed Innocent.