Sure, Ruby bails on them out of spite, but before this current conflict, she never took a sick day? A tumultuous scene where Frank and Leo are fishing without Ruby while an overseer tips the Coast Guard off that they're violating all manner of rules by not having a hearing deck hand around is properly suspenseful, but makes Frank look like an idiot and a worse father than he truly is for literally never preparing for something like this. The movie asks you to make some awkward leaps with regards to the logistics of the Rossi family's business and makes their willingness to exploit their daughter seem a little more pernicious than necessary solely for dramatic conflict. In typical teen movie melodrama fashion, she is somewhat artificially forced to choose between her status quo with her family and a new world where she follows her own goals. Close calls follow with the Coast Guard because she's not there to listen out for radio transmissions, or her zoning out while being expected to handle interpretation for a local news crew doing a story about the family's new fish market co-op. These fears are exacerbated once Ruby's choir teacher Bernardo (Eugenio Derbez) starts tutoring her after school to audition at Berklee, causing Ruby's time to be split even further away from her duties on the boat. "If I was blind," Jackie asks her, "would you want to be a painter?" Her mother Jackie (Marlee Matlin) discourages her musical aspirations, not just because she can't know if her daughter is even any good at such a crapshoot career goal, but because she's terrified of her baby abandoning the family for the hearing world. It's her one escape from the Groundhog Day drudgery of living her life solely for helping keep her family afloat. Those looking for something that will make them smile, laugh, and, yes, cry (in a good way!) would be smart to check this one out.Ruby is something of an odd duck at school, ostracized for being in an all-deaf family and for the inherent social awkwardness she possessed as a child coming from a home where no one else spoke.
CODA is a crowd-pleaser, filled with genuine compassion and an important message: Every voice is essential, even if they are expressed in different ways. It offers the comfort of the familiar, but also with a unique spin that helps set it apart from other movies of this kind. This is a difficult time for many, which makes CODA feel all the more vital. It might feel over the top to some, but CODA is certainly dedicated to making viewers feel all possible emotions. As Ruby chases her dream, the use of Joni Mitchell's "Both Sides Now" (perhaps the most emotional since 2003's Love, Actually) in a triumphant climactic moment tugs at the heartstrings more than anything else in the sweetly sentimental film. At the same time, it's hard to fault Heder for going with such a hopeful conclusion. Some of the smaller conflicts sprinkled throughout the film are handled quickly. If CODA has a flaw, it's in its neatly tied-up ending, which reveals some narrative jumps that don't entirely feel earned.
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