James White (Christopher Abbott) is a troubled twenty-something trying to stay afloat in a frenzied New York City. He retreats further into a self-destructive, hedonistic lifestyle, but as his mother (Cynthia Nixon) battles a serious illness James is forced to take control of his life. As the pressure on him mounts, James must find new reserves of strength or risk imploding completely.... (Full plot summary below)
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James White (Christopher Abbott) is a troubled twenty-something trying to stay afloat in a frenzied New York City. He retreats further into a self-destructive, hedonistic lifestyle, but as his mother (Cynthia Nixon) battles a serious illness James is forced to take control of his life. As the pressure on him mounts, James must find new reserves of strength or risk imploding completely.
Leave your thoughts about James White.
| TheWrapTricia OlszewskiAbbott (“A Most Violent Year,” HBO’s “Girls”) is a revelation, creating a multidimensional character whose battling, sometimes uncontrollable emotions are clear in his warm and expressive eyes. |
| RogerEbert.comBrian TallericoJames White is a masterful examination of how our behavior and the excuses we make about our lives fall away under certain, life-changing conditions. |
| Paste MagazineTim GriersonLike no movie in recent memory, the feature debut of writer-director Josh Mond is a small marvel of evenhanded empathy. |
| TimeLisa SchwarzbaumThere is no solace to be had in this raw, intimate drama, a feature-film debut for writer-director Josh Mond. No triumph of the human spirit. There is instead something rarer and more valuable: urgently personal filmmaking, and Abbott’s stunning performance. |
| Spirituality and PracticeFrederic and Mary Ann BrussatA poignant drama that will leave you yearning for the kind of transformation that takes place near the end. |
| Globe and MailJulia CooperWith an intimacy caught in tight close-ups, Abbott and Nixon hold the pared-down script and each other gently. Like grief itself, this film might knock the wind right out of you. |
| Washington PostAnn HornadayJames White gets up close and personal in often discomfiting ways, but it’s never exploitative or glib. It hits the highs, and the rock bottoms, and all the damnable stuff in between. |
| Georgia StraightKen EisnerVeteran producer Josh Mond makes his feature-directing debut here. It elides as much as it shows, but his sketches are mostly deft and always deeply physical. |
| Antagony & EcstasyTim BraytonOne of the year's most unfairly invisible successes. |
| PopMattersPiers MarchantJosh Mond's movie is an unwavering gaze into an abyss, provided by absolutely stirring performances from his lead performers. |
