Rex Reed’s ‘Daddio’ Review: Dakota Johnson’s Mesmerizing Performance as the Ultimate Sexy Listener

In the world of cinema, it’s rare to find a film that relies solely on the power of dialogue and the strength of its actors to captivate an audience. Yet, “Daddio,” the debut feature from first-time writer-director Christy Hall, attempts just that. Set entirely within the confines of a taxi cab stuck in a traffic jam between JFK and midtown Manhattan, the film unfolds as a two-hander, featuring Dakota Johnson and Sean Penn in a narrative that is as intimate as it is claustrophobic.

“Daddio” begins with an encounter between two strangers: a grizzled cab driver named Clark (Sean Penn) and his passenger, an unnamed woman he dubs “Girlie” (Dakota Johnson), who is returning from an unhappy trip to her hometown in Oklahoma. The film opens with Clark breaking the icy silence with the line, “You’re my last fare of the day,” to which she responds out of politeness. What follows is a relentless exchange that oscillates between mundane chatter and deeply personal revelations.

Clark, played with gritty authenticity by Penn, is a working-class everyman whose conversation topics range from credit cards and smart phones to more intrusive subjects, such as bodily functions and marital advice. His monologue is a mix of irritability and unsolicited wisdom, and while some of his dialogue might feel natural, it often veers into territory that is too intimate and implausible for comfort.

Dakota Johnson, known for her role in the “Fifty Shades” series, shines in “Daddio” by showcasing a breadth of emotions and subtlety. As “Girlie,” she starts off as a passive listener, indulging Clark’s tirades out of curiosity and boredom. However, as the narrative progresses and a highway accident turns the Brooklyn-Queens Expressway into a standstill, her character begins to open up. Johnson’s performance is a revelation, demonstrating her ability to convey a wide range of moods and expressions, all while remaining clothed—a stark contrast to her previous roles.

The dynamic between Penn and Johnson is the film’s saving grace. While Penn’s Clark initially comes off as a creep with his invasive questions and grumpy demeanor, there is a surprising amount of charm that emerges as his character softens. His transformation from a gossipy cabbie to an old-fashioned idealist adds depth to the film, suggesting that human connection through conversation is a dying art form.

However, “Daddio” is not without its flaws. The film’s title feels pointlessly vague, and the dialogue, though occasionally engaging, often meanders without a clear thread. The lack of a strong narrative direction can make the film feel like a “terminal talkathon,” as Reed puts it, leading to a sense of incalculable claustrophobia for the audience. The conversations, while intimate, sometimes lack the warrant to delve as deeply as they do, making the film’s 90-minute runtime feel longer than necessary.

In the end, “Daddio” manages to keep its head above water, primarily due to the strong performances of its leads. Dakota Johnson’s ability to hold the audience’s attention as the ultimate sexy listener and Sean Penn’s nuanced portrayal of a seemingly simple character with hidden layers make the film worth watching. Despite its dreary setup and occasionally forced dialogue, “Daddio” offers a poignant commentary on the lost art of conversation and the unexpected connections that can arise from it.