The family endeavor aspect of the picture is not really a problem. Both Dylan, who in appearance favors her mother, Robin Wright, and Hopper Jack, who here rather resembles Spike Jonze after being stretched out on a medieval rack for a couple of days, are better than capable performers. What trips this movie up is the source material, a memoir by journalist Jennifer Vogel about her career criminal dad, counterfeiter and con man John Vogel. Both the story as a whole and the character of John, who Penn plays here, inspire Penn to stage, better-than-reasonably, some distinctive dysfunctional family dynamics, and they also inspire him to romanticizations and acting-outs of a truly jaw-dropping variety.
The movie opens in 1992, with Jennifer, played by Dylan, learning just how good a counterfeiter her dad had been, intercut with some “Sugarland Express” style footage of a fleet of cop cars pursuing a lone vehicle that can’t get away. We flashback to the 1970s; a car radio plays America’s “Sister Golden Hair” (contrary to what contemporary motion pictures would have you believe, this was NOT the only pop song of 1975), and Penn, made up to look younger and sporting some real slick-reprobate facial hair, smokes a cigarette and lays out some coolest-guy-in-the-universe schtick on little-girl Jen (Addison Tymec). John’s “roguish” “charm” is a little shopworn, both conceptually and in Penn’s performance; he’s far, far better in the movie the closer he gets to his own age, and the more he has to play an increasingly broken and largely pathetic failure.
John is the errant father the kids (Hopper Jack is Jen’s younger brother Nick) love; Katheryn Winnick’s Patty is the drunkard mom who eventually straightens out and becomes a different kind of drag, an AA devotee who also turns a blind eye to her new husband’s attempts to molest Jennifer. I can’t say how many liberties Penn, working from a script by Jez Butterworth and his own brother John-Henry Butterworth, took with their source material, but the way much of it plays out here feels movie-familiar rather than real-life familiar. “Flag Day” manages to somehow underplay John Vogel’s deviousness and the way Jennifer Vogel was able to transcend a most unhelpful upbringing. For long stretches in its first half, it presents sequences in which the actors emote with complete abandon while a hand-held camera tries to keep up. It’s all rather undifferentiated and scattershot. Every now and then a flashback will try to pull the viewer back to a particular mood or theme and most of the time the device seems like a reach—which makes it all the more confounding when late in the movie Penn hooks on to a flashback that actually signifies the way he wants it too.
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