Falling Review: Viggo Mortensen Gets Personal In Directorial Debut

In his directorial debut, Viggo Mortensen ambitiously tackles the effects of dementia on an aging man and the strained relationship he has with his son with little success. Falling — which Mortensen also writes, produces, and stars in — unfortunately fails in every way imaginable, bogged down by aggravating dialogue, a stagnant storyline, and a central character whose cruelty never lets up. Falling’s many issues ultimately distract from what could have been a thoughtful, intriguing exploration of a father-son relationship.

After receiving a call from his father Willis Peterson (Lance Henriksen, also portrayed by Sverrir Gudnason at a younger age), John (Mortensen, played by Grady McKenzie, Etienne Kellici, and William Healy at 5, 10, and 15-years-old, respectively) flies him to California in an attempt to get him to settle down near family and leave his rural farm life behind. Willis is a real piece of work — an angry, virulent racist and homophobic man with a short temper and absolutely no filter for his bigotry.  Despite John’s patience and willingness to help, Willis, who is in the throes of dementia, stubbornly fights John at every turn. 

Falling is a tedious film to get through and, by the end, it’s unclear if there was ever really a point to the story. The film begins with Willis and John’s plane ride to California and the audience is quickly transported to Willis’ early days as a father. There’s something wistful and almost soft about his apology for bringing baby John into the world, but the film goes downhill from there and is never able to delve into anything deep or compelling enough to keep the story or the characters afloat. The present-day scenes are punctuated by flashbacks, which complement Willis’ deteriorating mental state. Specific conversations and people trigger his lapses in memory, which explain the film’s abrupt visits to the past. 

While the performances, most especially by Henriksen, are excellent and strong, Falling is bogged down by Willis’ endlessly hateful tirades. It becomes a chore to listen to his sexist rants, his racist treatment of John’s husband Eric (Terry Chen), and his clear disdain for the LGBTQ community. If the point is to feel sympathy towards this detestable man simply because he’s nearing the end of his life, then Falling completely mishandles the approach. What’s more, the film becomes increasingly repetitive as it goes on, hammering viewers with Willis’ cruelty towards his family and temperamental bouts without remorse. It’s frustrating, grating, and frankly uncomfortable to watch as Willis rants and raves the whole way through the film with no end in sight and zero hope for resolution.

Mortensen’s John is patient, tolerant, and gentle, promising himself that he wouldn’t angrily confront Willis. However, Falling could have been infused with more conflict than what was offered, at least to break from the monotonous and rather aimless storytelling. As a director, Mortensen knows how to bring attention to the characters and their feelings, often arranging for scenes to take place in public settings to heighten the discomfort and sadness John and his sister (Laura Linney) feel. However, the effects of such decisions are squandered by a thin premise that favors style over substance.  

Falling is a true test in patience. There’s nothing remotely interesting in watching a selfish, awful man spew hate without consequence; nor is the father-son relationship compelling or worthy enough to be invested in. Ultimately, Mortensen fails in ramping up the tension and in developing a steady pace that builds towards a satisfactory conclusion. Where there could have been thoughtful, poignant commentary about life’s regrets and the turmoil that can continue to permeate a father-son relationship over time, Mortensen drops the ball completely. Without a cohesive story, Falling spirals and offers little beyond good performances. 

Fallingis in theaters, on demand, and digital on February 5, 2021.  The film is 112 minutes long and is rated R for language throughout, including offensive slurs, crude sexual references, brief sexuality and nudity.

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About The Author

Mae Abdulbaki
(1083 Articles Published)

Mae Abdulbaki is a movie reviews editor with Screen Rant. She previously wrote about a variety of movies and TV shows for Inverse, CinemaBlend, Pajiba, and The Young Folks, where she wrote reviews, features, news pieces. Her other work can be found at The Mary Sue, Film School Rejects, UPROXX, Heroic Hollywood, Looper, The List, and Bam Smack Pow, among others. Mae has also appeared on television segments, podcasts, and panels to discuss all things entertainment.

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