My Son: James McAvoy’s raw performance powers a gripping but uneven thriller

The opening shot of My Son is a masterclass in tension: James McAvoy’s Edmond Murray, a man already frayed at the edges, steps off a train into a town shrouded in mist and mystery. The camera lingers on his face, capturing every flicker of desperation as he searches for his missing son. It’s a promising start, one that suggests Christian Carion’s thriller might deliver something truly gripping.

Based on Carion’s own 2017 French film Mon garçon, this English-language remake follows Edmond (McAvoy) as he travels to the town where his ex-wife Joan (Claire Foy) lives, determined to uncover the truth about their son’s disappearance. The premise is simple but potent, and Carion leans into the thriller’s strengths early on, building a sense of unease that lingers like the fog in those opening scenes.

McAvoy is the film’s standout, embodying Edmond’s grief and obsession with raw intensity. He was not given a script, instead improvising much of his dialogue—a bold choice that pays off in moments of unscripted authenticity. His performance anchors the film, even when the story stumbles. Claire Foy, too, delivers a compelling turn as Joan, her character caught between love and resentment, protection and betrayal. The chemistry between McAvoy and Foy is electric, their scenes together crackling with unresolved tension and shared history.

The first half of My Son is its strongest, with Carion crafting a slow-burn mystery that keeps the audience on edge. The cinematography is atmospheric, the score subtly amplifying the tension without overpowering it. There are standout scenes—Edmond’s confrontation with Joan in her cluttered kitchen, a tense standoff in a dimly lit bar where the air is thick with unspoken threats—that showcase the film’s potential.

But then comes the second act, where the story begins to unravel. The pacing falters, and what was once a tightly wound thriller starts to feel meandering. The audio mixing is a persistent issue; dialogue often drowns in the score or background noise, forcing the viewer to strain to hear crucial lines. Worse still, the film’s central theme—the father-son connection—gets lost in a maze of subplots and red herrings.

The ending, too, is a disappointment. After building such a strong sense of suspense, Carion delivers a resolution that feels rushed and unsatisfying. It’s as if the film couldn’t quite decide where it wanted to go, settling instead for a conclusion that leaves more questions than answers. The mystery at the heart of My Son is compelling, but the payoff doesn’t live up to the promise of its setup.

That said, My Son isn’t without its merits. Carion’s direction is often assured, particularly in the film’s quieter moments. He has a knack for capturing the emotional core of his characters, even when the plot takes a misstep. The supporting cast, including Tom Cullen as Frank and Gary Lewis as Inspector Roy, deliver solid performances that add depth to the story.

The film also explores themes of grief, obsession, and the complexities of parenthood in ways that feel genuinely affecting. Edmond’s journey is one of desperation and hope, his love for his son driving him to the brink of madness. It’s a theme that resonates deeply, even if the execution sometimes falters.

My Son is a film that will appeal to fans of slow-burn thrillers and character-driven dramas. Those who enjoy the work of directors like David Fincher or Nicolas Winding Refn might find something to appreciate in Carion’s atmospheric direction and McAvoy’s intense performance. However, viewers looking for a tightly plotted mystery with a satisfying payoff may leave disappointed.

Ultimately, My Son is a film of missed opportunities. It has the ingredients for something truly special—a compelling premise, strong performances, and moments of genuine tension—but it stumbles in its execution.