Sean Penn & Dakota Johnson shine in the dialogue driven Daddio

First-time writer and director Christy Hall quickly makes her mark in the film “Daddio” from Sony Pictures Classics. As a woman, known only to the audience as Girlie (Dakota Johnson), steps into a yellow taxi at JFK Airport, she is greeted by the unassuming yet friendly taxi driver, Clark (Sean Penn). What begins as a casual exchange of pleasantries soon takes a turn as Girlie, burdened by her recent mistakes, begins to confide in Clark.

As the taxi weaves through the chaotic streets of New York, Grille’s story unfolds, filled with heartbreak, regret, and the consequences of her ill-fated decisions. With each passing mile, she finds solace in sharing her deepest secrets with a stranger who listens without judgment.   Surprisingly, Clark, the taxi driver, also opens up about his life struggles, revealing a past filled with lost dreams and missed opportunities. Through their candid conversations, Girlie and Clark form an unexpected bond, finding comfort and understanding in each other’s shared vulnerabilities.

As the night progresses, the taxi becomes a confessional on wheels, carrying two souls on a journey of introspection and forgiveness. Together, Girlie and Clark navigate the twists and turns of their intertwined stories, offering each other hope and a chance at redemption. Will Girlie find the strength to move on from her past mistakes? Can Clark find peace amidst his challenges? And will their brief encounter in a taxi lead them toward a new beginning?

One of the first things viewers should know about “Daddio” is that it is a “chamber piece,” meaning it takes place in a single location. That said, some critics have pointed out that the concept presented in the film may have worked better on stage. On the one hand, I agree with the assessment; however, with two-time Oscar winner Sean Penn and the highly underrated Johnson stirring the ship, the film works. Penn delivers yet another stellar performance, continuing his tradition of excellence. However, the sophisticated Dakota Johnson is at her best in this feature.

Often criticized for her roles in mainstream films—which have been seen as ill-fitted to her considerable talent—Johnson demonstrates her true prowess within indie cinema, as evidenced by standout performances in “A Bigger Splash” and “Our Friend.” Hall masterfully captures Girlie’s psyche during an ostensibly benign texting session with her boyfriend. Initially appearing affectionate and harmless, the conversation soon unveils a more sinister nature—highlighting intrusive behavior from her partner and revealing manipulative undertones. This dynamic is mirrored not only through their text exchanges but also through dialogue with Clark, where discussions about sex are frequently intertwined with themes of power, love, unmet desires, and fantasies.

Despite the clarity offered by Clark’s insights into his passenger’s mind—and despite Girlie’s apparent discomfort with these communications—the script leaves us questioning why she does not terminate these messages or clarify the nature of her relationship with this person whose texts grow increasingly explicit and emotionally coercive. Moments like this make the move work, so I recommend it for fans of drama,

At its core “Daddio” is a heartfelt tale of forgiveness, redemption, and the power of human connection. It proves that self-discovery can sometimes begin with a simple taxi ride. While I don’t foresee Dakota Johnson getting her just due with the film come awards time, first time director and writer is one to watch and I look forward to her next project.

Final Grade: B+

“Daddio” opens in theaters today.