When it comes to being both warm and intelligent, endearing but very meaningful, there are few films that seem to be able to come close to The Peanut Butter Falcon, a film so hilariously irreverent, but still so deeply compelling, you can’t help but feel entirely overwhelmed by the beauty of it, as well as its good-natured charms that make it one of the year’s true hidden treasures. This film, directed by newcomers Tyler Nilson and Michael Schwartz, is the perfect combination of comedy and melancholy, an intrepid exploration of the everyday minutiae of a group of individuals doing their very best to survive. While the film may be relatively small, it has an enormous heart, and a darling sense of humour that makes it nothing short of a true gem, the exact kind of sleeper hit that doesn’t make much of an impact at first, but slowly grows in status as being something truly special, a film without a single pretention or, or any intention other than to be as charming as it possibly can be while still making a statement that would normally be heavy-handed. Whether through its astounding cast, it’s lovable story or its general easygoing nature, there’s very little doubt that The Peanut Butter Falcon is one of the year’s most surprising films.

Zak (Zack Gottsagen) is a 22-year-old man living with Down Syndrome. Due to his family abandoning him, he’s had to live in a retirement home, the only place that would be willing to take care of him. The problem is, Zak has ambitions far bigger than spending his days with the elderly – he’s an audacious young man, and his rambunctious spirit and penchant for adventure (which some would call a tendency towards mischief) means that he’s constantly getting in trouble. The person who is normally on the receiving end of his misadventures is Eleanor (Dakota Johnson), the reserved social worker who seems to be the only person who genuinely cares for Zak, other than his best friend, the equally-rebellious Carl (Bruce Dern), who serves as Zak’s inspiration for breaking free of the old age home and making his own life through experiencing all the outside world has to offer, which includes realizing his dream of attending a wrestling academy that he’s been obsessed with for years. This leads Zak to encounter Tyler (Shia LaBeouf), a rugged fisherman on the run from a pair of disgruntled colleagues who are hunting him down after a particularly bad decision brings them into conflict. Now, with both young men being on the lam, they discover they share a common goal, and over the course of their retreat, the unlikely pair finds themselves becoming great friends – nothing bonds two individuals more than being fugitives. Meanwhile, Eleanor has the difficult task of tracking Zak and bringing him home – but she soon begins to wonder whether or not coming home is best for him, or if, like his wrestling-namesake (the titular Peanut Butter Falcon), he would be better suited to be free.

The Peanut Butter Falcon is the kind of film that initially doesn’t appear to be anything particularly special – a well-meaning comedy about an odd couple finding themselves becoming friends, against all odds. Yet, there’s something much deeper about this film, an underlying gravity that doesn’t weigh it down, but rather allows it to soar and become one of the year’s most endearing films. It’s not a particularly serious film, nor is it parodic or absurd. Rather, it finds a happy medium between the two, becoming a nostalgic comedy about different people helping each other realize their destiny – whether fateful or borne from ambitions, the characters in this film benefit from the perspective gained when venturing out of their comfort zones. This is precisely why The Peanut Butter Falcon works as well as it does – it’s a lovely character-driven drama that has a sense of humour about some very serious matters, and manages to comment on all of it without resorting to anything close to being mean-spirited. The directors do very well in avoiding anything that could be seen as exploitative, especially with the sometimes sensitive subject matter the film takes on, and even when it does address these issues quite directly (which is often enough to make an impact, but never too overwhelming to distract from the fact that The Peanut Butter Falcon is indeed primarily a comedy before anything else), which automatically confirms this film as one that deserves recognition, if only for the sake of its wonderful approach to a tricky message, which it conveys with wit, warmth and a lot of heart.

A lot of The Peanut Butter Falcon is sold on the charms of two of its stars, actors who have frequently given great performances, but due to their perceived poor choices, whether within or outside their careers, they are viewed as relatively divisive figures. One thing is certain, both Shia LaBeouf and Dakota Johnson, questionable career decisions aside, are extremely talented performers with more than enough talent to merit their status as some of the brightest actors of their generation, a fact that has been demonstrated many times in some of their films, many of which are too underseen to shift perceptions towards a more positive space. LaBeouf hasn’t been this charming in years, which is mostly due to the fact that he’s clearly not intending to be a dashing hero, as has been the case for some of his more dismal failures as an actor, but rather plays on his offbeat charms, which serve the character much better. Tyler is a complex individual – he’s a soft-hearted young man who hides his vulnerabilities beneath a sheen of rugged masculinity and roughness that naturally repels others – yet, for those who get to know him, it can be the most endearing of qualities. Dakota Johnson plays Tyler’s polar opposite – a straight-laced, urban social worker who soon learns of the benefits of going against the establishment, and venturing out of your comfort zone, and how important it is to break a few rules every now and then. Both LaBeouf and Johnson are delightful in The Peanut Butter Falcon, where they not only fit the characters well, but also prove themselves to be capable of remarkable restraint, and while this isn’t a new concept to those who have followed some of their smaller projects, this film at least offers them the chance to demonstrate them on a slightly larger platform.

However, as wonderful as LaBeouf and Johnson were, The Peanut Butter Falcon belongs entirely to Zack Gottsagen. The premise of the film would make any logical individual approach it with some apprehension – the film has a difficult task of foregrounding a character almost never placed in the central role, and considering how Nilson and Schwartz made the correct decision to cast someone who was living with the condition, rather than having a bigger name occupy the role (as has unfortunately been the case in the past), there was little doubt that The Peanut Butter Falcon was going to be special in some way. So much of the film’s success comes from Gottsagen, who is a revelation. He takes on the role with such enthusiasm and spellbinding dedication, it is a true marvel to experience. Gottsagen is able to play the character with such adorable charm, it often helps bolster the occasionally serious turns this film tends to take. Most notably of all, Gottsagen is never left behind, even when the film flirts with the idea of placing LaBeouf in the more prominent position – every time the film seems to be about to deviate away from the more compelling of the two storylines, it quickly reverts back to focus on Zak and his own journey, which was admirable, to say the least. Representation is an important factor in contemporary filmmaking, and actors like Gottsagen do tend to have limited chances, so for a film like The Peanut Butter Falcon to come along, where the role isn’t only meaningful, but also entirely necessary to the story, clearly shows a seismic shift in the way we approach individuals with different needs and capabilities. It’s a heartwarming prospect – but inclusion isn’t where this film ends, because while it was wonderful that they gave him the chance to play the role, Gottsagen isn’t let off the hook, and he delivers a wonderfully warm and endearing performance that extends far beyond what anyone would expect – it’s a terrific portrayal of a charming young man by an actor who makes an impressive debut with this film. If anyone deserves to benefit from a “star is born” narrative, then it certainly should be Gottsagen, whose work here is just impressive beyond belief.

As we’ve mentioned, The Peanut Butter Falcon is a film that benefits from an approach that is both sensitive and mature. The directors do very well to avoid saccharine sentimentality, and rather opt for something more elegant, but without sacrificing the irreverent core that makes this such a special film. This all works towards preventing from being overwrought and instead allows it to be a charming comedy about some very serious matters. Nilson and Schwartz make quite an impact in their debut feature, delivering one of the year’s most enjoyable films, and manage to derive a trio of exceptional performances from some unexpected sources. LaBeouf and Johnson have rarely been more lovable, and Gottsagen gives one of the most astounding breakthrough performances of recent memory. The Peanut Butter Falcon is a lovely film and deserves to be admired as the pinnacle of humour, warmth and relentless charm. There really isn’t much that you could feasibly criticize this film for being – despite some overt shades of predictability, and a sometimes sentimental approach to the story, the film never resorts to anything other than broad heartfulness, and its clear intention of exploring the human condition in all its small idiosyncrasies. The Peanut Butter Falcon is a fantastic film in every way and deserves all the praise and recognition it can possibly receive, and even that won’t be enough to encompass this very special little film.