Beautiful Boy

Although the script handles the characters and the story efficiently, it suffers due to the excessive dramatization and cliched elements. There is a misplaced focus on ‘earning’ the audience’s sympathy for the father and son duo which almost seems too aggressive in their characterization. On the other hand, while there are scenes in the movie that may be too harsh, other onscreen interactions do try to fill the screen with warmth. It describes Beautiful Boy, a 2018 drama that explores the challenges of a father-son relationship strained by the son’s struggle with addiction. The film has been noted for its emotional depth, though some critics have mentioned that it can become predictable and overly dramatized.

On the other hand, while there are scenes in the movie that may be too harsh, other onscreen interactions do try to fill the screen with warmth. Scripophily for example, during the family’s stressful moments, flashbacks of their time at home might cut in. But there are times when, for instance, Lele seems to be ignored by De, which raises doubt about whether he is a good father.

This guilt is most likely why he searches for his son with such intensity, for example swimming across the icy river alone or trying to persuade the search unit to increase their efforts and scope. If developed to full potential, this aspect of the man’s personality would completely humanize De. In addition, Lo had no reason to care about the internet scam politics, the police investigation, the citizen’s outbursts, and other matters before the search was underway.

In his non-action character, Donnie Yen is an estranged and desperate father, but it definitely takes a certain level of skill to portray this character. Although the depiction of an impulsive and reckless figure like De, who is a pain in the neck for the rescue team in the first place is quite remarkable, it is also quite aggravating. As a whole, however, the only requirement of his role is to show anger and regret, which does not go much beyond the barest minimum. Lele, the ugly little boy who raises his voice and tosses about, is well represented by Yuen Jin Hui. Mother, caught up in that kind of thing, is quite enjoyable with the assistance of Cecilia Han Xue.

As a consequence, several of the supporting characters get the green light to thrive with Yen. Of particular note are Mainland actors Tang Xu and Jia Bing, who feature Xiao Jiang, the seasoned commander of the search and resort team, and the police captain respectively. Also, Xu Guang Yu stands out as the deputy chief of police.

While the film has many quiet moments, it has two action sequences to break up the pace. The rescue team instantly loses one of their members to death as the film begins with an avalanche. The sad event triggers the rescuers to sing a nationalistic tune. The second evokes an ice lake where the thin ice is cracking and a rather silly and outrageous rescue comes into action but not easy. All in all both these moments and the special effects are nicely put together and come across as sound all throughout the movie.

Come Back Home did poorly in the local markets on the other hand Home Coming which is nearly similar was a hit that was based on Chinese citizens rescued in numia. Perhaps the audience isn’t fully used to seeing yen in non-action-oriented dramatic roles or in the case of a local patriotic film without the presence of a Hong Kong cinema crew.

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