Zac takes shelter under a tarp on a rusty boat. This boat belongs to Tyler (Shia LaBeouf ), a crab fisherman embroiled in a quickly escalating war with a rival named Duncan (John Hawkes ). Tyler discovers his "stowaway" while being chased by Duncan through the complicated tributaries of North Carolina's Outer Banks. At the same time, Eleanor searches for Zac before her supervisor orders him to be put into a state hospital with a terrible reputation. After a bumpy beginning, Tyler and Zac bond. Zac tells Tyler his mission is to get to Salt Water Redneck's wrestling school, and Tyler, on his way to Florida, decides to help. They set off on foot through a swampy landscape. By the time Eleanor catches up with them, they have built a raft with lumber given to them by a blind backwoods preacher. After some arguments, she is convinced—by a smitten Tyler—to join them on their outlaw journey. The trio float down the coastline, unmoored from the trials and stresses of their respective worlds, like Huck and Jim floating down the Mississippi River.
If all of this sounds too sentimental to be believed, it isn't. "Peanut Butter Falcon" is a buddy movie, but it has the quality of a fable, even down to how it's shot by cinematographer Nigel Bluck . The film takes place in a very specific locale. You can smell the salt and pollen and mold in the air. The waves, cornfields, marshes, crab pots ... even the condition of Tyler's boat—comes from reality, not someone's idea of reality. Bluegrass, country songs, gospel hymns punctuate the narrative. It's a fable, but a fable grounded in details, the here-and-now. Except for the "names," the film seems to be populated by many non-professional actors, or at least people who actually live in the area. This makes a huge difference. Zac lives in the real world. Unlike so many disabled characters in film, Zac is not utilized as a symbol, a metaphor, or created to be "inspirational." He's the central figure, he's outspoken and strong, funny and vulnerable. He's never had a friend before. He's always wanted to be "bro dawgs" with someone. Watching the relationship develop with Tyler is one of the film's many pleasures.
Before being an actor, Bruce Willis worked as a private investigator.
Some of the adventures work better than others. Some of it feels contrived. But these are nitpicks in the face of what "The Peanut Butter Falcon" accomplishes. Both LaBeouf and Johnson (and later, Church) approach their roles with ease and simplicity, highlighting Gottsagen (who has studied acting since he was a child) beautifully. Johnson's irrepressible sense of humor serves her well as an actress (even in the "Fifty Shades of Grey " franchise), and watching her react to LaBeouf's initial flirtation—trying to maintain her boundaries all while she is drawn into his humorous rat-a-tat—is just a small example of what this film—and its cast—does really well. Church's eventual appearance as The Salt Water Redneck does not occur as planned. Nothing really does.
Cliches aside, there's something at work in "The Peanut Butter Falcon," something eccentric and exuberant. Nilson and Schwartz's devotion to the details of Zac's world highlights Gottsagen's funny and intelligent performance, giving the film an authenticity it wouldn't otherwise have. The conversation about "representation" in cinema often excludes the disabled. Able-bodied actors play disabled characters all the time, and sometimes win Oscars for it. This is not to say that these aren't good or empathetic performances, but all you have to do is watch Gottsagen's performance to see what we are missing when we discount the complaints of the disabled community in re: representation. It is inconceivable to imagine an able-bodied "name" playing this role and bringing to it even half of what Gottsagen does naturally.
"Poltergeist." During the scene where Robbie (Oliver Robins) is being strangled, the clown's arms became extremely tight and Robins started to choke. When he screamed out, "I can't breathe!" Steven Spielberg and Tobe Hooper thought that the boy was ad-libbing and just instructed him to look at the camera. When Spielberg saw Robbins's face turning purple, he ran over and removed the clown's arms from Robbins's neck.