Standing Up (Ezra) - Review

Rating: 3.5 out of 5

THERE’S a moment in Standing Up (formerly called Ezra for its US release) where Bobby Cannavale’s struggling father tearfully says of his autistic son: “I don’t want him in his own world. I want him in this world.” It’s a sentiment that will resonate with so many parents dealing with the challenges of autism (myself included).

But as Tony Goldwyn’s film ultimately concludes, attempting to make a neurodivergent child fit into a neurotypical world will never work. It places undue stress on the child, with potentially catastrophic outcomes for everyone.

Based upon a script from Tony Spiridakis, which was inspired by his own experience and struggles with raising an autistic son, Standing Up is a largely authentic look at the challenges posed by autism. But it’s also, in many ways, a celebration of autism too - as epitomised by the brilliant performance of its actually autistic child star, William A Fitzgerald, who radiates charm whenever his father gives him reason to.

It’s Fitzgerald who provides the beating heart of the film, as well as the key to so many of its dilemmas. His performance is pitch perfect in the way that it conveys both the challenges and positives of autism (from his sensory difficulties and tendency to take things literally to his tremendous sense of loyalty and passion for special interests).

Yet the film doesn’t make Fitzgerald’s Ezra the focus. Rather, that belongs to Bobby Cannavale’s father, Max Brandel, a stand-up comic who is struggling to come to terms with his son’s diagnosis. He accepts it - but would desperately prefer to see Ezra fitting into a neurotypical world, rather than being sent to a specialist school or given medication.

As Ezra’s struggle within a mainstream setting worsen, however, the authorities step in and enforce some changes, prompting Max to snap. He subsequently kidnaps his son and embarks on a road trip - the final destination of which eventually turns out to be the Jimmy Kimmel show in LA, where he has been booked to appear.

The ensuing journey is filled with mishaps and misunderstanding, as Ezra and Max both struggle, while simultaneously coming to learn more about each other and, in Ezra’s case, what they really need.

Pursuing them, meanwhile, is Max’s ex-wife Jenna (played by Cannavale’s real-life partner Rose Byrne), his father Stan (Robert De Niro), who may also be on the spectrum, and the authorities, led by the FBI.

Admittedly, there are some parts of Standing Up that feel overly heightened in terms of piling on the drama, especially surrounding the kidnapping and some of Max’s attempts not to get caught. These seem more in service to genre convention than creating a plausible and genuinely awareness raising portrayal of autism.

It goes without saying that the film is at its weakest during these moments - although I can see why Spiridakis and director (and lifelong best friend Tony Goldwyn) opted to include them as part of the narrative, to make the film appeal to a wider audience.

But Standing Up is undoubtedly at its best when keeping things intimate and really getting under the skin of its characters.

Cannavale is excellent at channelling the angst and despair of his father - someone who undoubtedly loves his son but is ill equipped, initially, for providing what he needs. Speaking from my own experience of raising an autistic son, there does require a sea change in thinking about parenting - some of it feels counter intuitive at times.

In a world that doesn’t always tolerate difference, or at the very least denies it the opportunity to be seen and thrive, you want to enable a child to survive in a mainstream environment, which inevitably means conforming to unrealistic expectation and placing a tremendous burden on the child (which can subsequently result in masking and burnout).

Acceptance can be hard.

Cannavale’s performance channels this. To some he may seem annoying, even reckless. But this is a character who is clearly spiralling, who is racing to catch up and do the right thing. That being said, there are moments of calm when his interaction with Ezra, as well as his own father, are genuinely moving.

What’s more, they feel, by turns, raw and authentic. There is a genuine affection between the cast members. They feel like a family, albeit a dysfunctional one.

And Spiridakis’ script encapsulates a lot that will resonate about the autistic experience - albeit one that is informed by US policy towards it as much as a more all encompassing overview. There are some things that are controversial, such as an over insistence on eye contact, while some of the issues raised (such as those about schooling and the struggles faced by so many kids in mainstream) feel under-developed (and therefore a missed opportunity).

But given this reflects Spiridakis’ own experiences, then perhaps it’s still genuine to his own story. After all, once you’ve met one autistic person, you’ve only met one autistic person. Each experience is individual even though there is still much that can be shared in common.

And while Standing Up might be too much for some viewers, especially if they don’t know that much about neurodivergence and are quick to judge some of the on-screen behaviours based on their own neuro type, there is a lot to be gained for those that do have an understanding and appreciation, or for those that are open minded.

A heartfelt, highly emotional finale also feels earned and appropriate, without wrapping things up too neatly.

Standing Up therefore rates as a success on its own terms, both as a heart-warming film that isn’t afraid to exhibit a raw side (much like Silver Linings Playbook) and as a film with the potential to resonate with the autistic community and educate those willing to learn more.