A film that opens with a lens-flared shot of a forest is only ever going to be a particular kind of film, I thought. A twee, wilderness-worshipping kind of film with smug self-contentedness. But Captain Fantastic, written and directed by Matt Ross, is not really that kind of film. Or rather, not entirely that kind of film. Yes, it’s full of obsession over nature and that brand of anti-consumerism that we all learn during our teens that pretty much starts and ends with “stick it to the man” – but it’s a film that’s occasionally and increasingly quite charming and that allows its characters to exist as more than a mere stereotype, delving into their lives and minds. Disappointingly, though, that is only a minor achievement that doesn’t really make up for the overall lack of depth in the storytelling. Captain Fantastic centres on Ben Cash, a father who brings his kids up in the woods, training them up to peak physical and mental ability away from all the aspects of modern, artificial, commercial life. This is the life this family leads, a life that’s all-too-tragically interrupted when Ben calls to find out how his wife and the children’s mother Leslie is doing in hospital and is told that she has died. Ben Cash is played by Viggo Mortensen with his usual rugged, rough-shod manner coupled with an intensely warm paternalism. In fact the whole cast is commendable, especially considering most of them are children; they never reduce their personas into cartoons even while, for example, the eight-year-old kid reads George Eliot, or the eldest hunts and kills a deer. The way he regiments his family and has a cool authoritarian control over them is, let’s be honest, essentially one murder away from a cult. He uses his power over them as a father figure in the same way that the corporations and capitalists that he rails against do. In their world, he is the man. But they never stick it to him. They just stick by him. And it was rather frustrating that this aspect of the film was never truly scrutinised. It’s safe to say that the film’s loyalties never really stray from the side of the ironically-named Cash family. Their lifestyle is never used as a punchline, which is nice, but again not surprising given the film’s on their side. And it’s entirely clear that he loves his kids and they love him too. But their ideological standpoint is pretty much given a free pass, which is both the film’s drawcard and its drawback. On one hand it’s nice to see a film treat a group of people on their own terms, and on that front it paints a detailed and convincing portrait, but on the other hand it means that it’s never fully critical of them and while yes it’s nice as an audience to be able to conduct critical analysis on our own terms it feels like the film itself is not actively inviting of criticism. Of course, there are some moments of self-doubt and self-reflection, and actually the most engaging segments of the film come in the second half, when we start to see the cracks in Ben Cash’s parenting methodology. It’s during these segments that the film is at its best, presenting a moral dilemma and a conflict between Ben and his wealthy “real-world” parents-in-law. Unfortunately it very suddenly shifts back to its original vibe – and, without giving too much away, it seems to suggest that these conflicts were for Ben to overcome, not to learn from. There’s small changes in his attitude as he settles for a favourable compromise and slightly mellows, but on the whole he’s the same Wild Man of the Outdoors as before. Captain Fantastic is a film about a family but is not exactly a family film. I mean, can you call a film where you see Viggo Mortensen nude a family film? I’m not sure. Maybe. But it’s definitely aiming for feel-good and I can see that it will appeal to a lot of people. I just wasn’t one of those people. Captain Fantastic opens September 8th. Written by Ben Volchok

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