No assembly RequireD

Everyone has that friend that needs to grow up. If you don’t have that friend you may be that person. Hell this critic writing this review certainly was (and still is at times), but growing up is far from any easy thing to do and becomes especially harder the longer you wait. But if the motivation is right sometimes that is all you need. CLUB KID, directed by Jordan Firstman is all about growing up, sometimes too late but when it’s needed more than ever. A hysterical but tearjerker of a crowd pleaser that is as indebted to a specific NYC club scene as it is to be leaving said scene all behind. A film that knows growing up can feel like the right thing to do but change in any person must first come from one’s own self-love. Without that love any growth can feel manufactured and eventually comes crashing down. CLUB KID may be the kind of film that feels like it is following an all too familiar structural beat, but when the emotions are universal it should feel familiar. In doing so it allows Firstman’s directorial debut to understand that universal pain is all too real, but when it turns to love we can all recognize then it becomes something beautiful. 

Peter (Jordan Firstman) is messy. He’s also someone that comes with the worst (or best depending on what drugs you’ve taken) uber ride ever. Opening up with a scene that tells us nearly everything we need to know, Peter and his friends including his work partner Sophie (Cara Delevignie) pile into an Uber on their way to a Brooklyn club, blasting Rihanna’s “Sex With Me” while their driver patiently and safely get them on their way. It is a familiar nightclub vibe for anyone who has already started their enjoyment far before the Uber arrives and will continue way into the afters of the night. But for those on a more sober level it can be both overwhelming and somewhat terrifying. Firstman a subject of debate in the online queer community knows he is being obnoxious here and knows that Peter is a good time until he is not, but as a working club promoter you need him. But that does not mean you need to love him. Setting the stage with a flashback to 2016 (making the Rihanna song all the more nostalgic), Peter finds himself at yet another night at the club his body full of MDMA, GHB, cocaine and whatever other alphabet drug fuels up the backrooms of Brooklyn’s club scene. Firstman is not out to damn or even judge the atmosphere, an active member himself there is little ridicule but that does not mean there is no awareness of the dangers. His diverse group of party friends keep the night going as Peter finds himself interacting with a British women very drunk and very into Peter ignoring his remarks of being a gay man who “has never had vagina.” But still the night turns into the night and after a bathroom bi-threesome, Peter finds himself in new territory knowing the next morning will wash away the night before. If only it was that simple. 

CLUB KID doesn’t hide from its early inspired roots of the man child needing a big wake up in order to change. Peter may not know what is in store for him but for anyone who grew up worshiping Adam Sandler’s “Big Daddy” or the endless male dominated comedies of the 2000’s knows Peter’s life is about to change forever. That change of course comes in the form of a child. And not just any child but Peter’s British son Arlo (Reggie Absolom), a product of the nightclub threesome, who is dumped on him by a friend of Arlo’s mother after a tragedy hits Arlo. For Peter this new change seems only temporary but even shy Arlo can sense something else is afoot. It isn’t long until Peter is left with Arlo with no way back to England. It would have been easy for CLUB KID to turn into an all-out situational comedy at this point. Little kid dropped into the drug NYC party scene seems like an easy premise for a comedy. But Firstman doesn’t want his film and especially his character of Peter to just react to a scenario he may see as an inconvenience. Instantly there is chemistry and curiosity between Peter and Arlo done in thanks to Firstman and Absolom never retreating from one another as performers. Even Arlo’s shyness dies down as his childlike wonder of the big city comes into play. And while the film can almost seem too easy in its acceptance of the situation CLUB KID is trying (and succeeding) to show that life can change in an instant and while Peter is a mess it doesn’t mean he has no capabilities. Even as he must now introduce Arlo to his new friends of all members of the NYC Queer community there is a welcomeness from everyone for Arlo. Is Firstman taking a stance on the beyond outdated notion of traditional family and further expanding the notion of modern family? Perhaps but more so is just showing that anyone can grow up anywhere if given the safety and love needed. 

But Peter’s love for Arlo has barely just begun and there is a long way to security. Firstman as Peter however constantly shows that while the growth is taking time there is still the understanding of immediacy. Peter thankfully as a character feels more believable in his acceptance of the situation rather than trying to dump the kid on any of his peculiar neighbors including his former roommate Nicky (a hysterical Eldar Isgandarov). Absolom as Arlo is a strong breakout star and is impossible not to want to protect and worry for his safety, but the script (written by Firstman) always knows this relies on making Peter endearing when the right moves are put in place and beyond frustrating when the opposite occurs. CLUB KID understands raising a kid is hard but thankfully understands more that the difficulties come from Peter’s handling of life rather than being given an obstacle. But Firstman wants us to root for Peter not just for Arlo’s safety but because it is so damn hard to love one’s self that when those moments come out, including Peter connecting with a handsome gentle social worker Oscar (Diego Calva), it brings joy to see that it is never too late for anyone to find that joy in themselves. CLUB KID carries a lot of this joy when having Peter and Arlo grow with one another as Peter helps Arlo pursue his love of music and learning how to DJ as well as just finding ways to explore Arlo’s curiosity through New York City. The city itself becomes a character and while that is quite a familiar thing especially in recent A24 produced films, CLUB KID has such a youthful admiration for the city that it allows the film to have one of its most stunning moments involving an old apartment building aerial shot set to the tune of Ethel Cain’s epic “Thoroughfare.” 

Even amongst all the levity of CLUB KID, whether it be singalongs with your new son, nonstop laughs from Nicky (basically a stand-in for the “Big Daddy” delivery man) or even an absolutely killer Basement club reference that will crack up any young New Yorker, the film still knows raising a child is really difficult. Just when the film has you questioning if things are going too easy or even if there is some odd plot hole in the idea that a kid can just be tossed over to a new person fear not because Firstman has his emotional wallop in store for his audience. When CLUB KID finds itself at an emotional standoff it is less about delivering a needed cry for tears sake but rather knowing even those trying hard to do the right thing in a short amount of time still has to understand that change takes time. Sobriety, parenthood or just getting a new safer job doesn’t mean everything else falls into place. But CLUB KID also believes in Peter and wants you to believe in him as well and in doing so believe in Jordan Firstman. A man who spent most of his short career displaying levels of immaturity for comedy’s sake. It doesn’t mean one shouldn’t trust Firstman as a person, none of us obviously truly know what’s happening behind that devilish grin (well some of you on Instagram may know), but CLUB KID is about growing up, if Firstman is on that path himself, then safe sailings but what is more present is he has delivered a film that is both promises and keeps up with its word. As a director he has more than proven himself keeping us intimate in nearly frame but never claustrophobic, as many of his other peers have done so in a more anxiety ridden sense. No instead Firstman directs with such confidence that he wants us to stand back just enough so we can see the full picture so we can witness the growth. But Firstman is not one to admit success right away best shown during an emotional lesson between father and son where Peter lets Arlo know that in his house crying is always allowed. Because Peter has spent his club promoting career providing for others but never takes that energy to love himself. A kid can change that, but it also means understanding that love and pain will and must always come from within. CLUB KID at its core is just that, a kid. One still learning to grow and love, and if by the end of its stunning finale you are not fully sure if Peter has grown up then just remember it takes time for everyone and some of us remain kids forever. But if being a kid is the worst thing about you then things are going to be more than just fine.

A

CLUB KID IS PART OF THE NEW YORK FILM FESTIVAL SPOTLIGHT SECTION. THE FILM WILL BE RELEASED IN THEATERS NOVEMBER 6TH FROM A24