‘Steve’ (2025) Netflix Movie Review - Won't Somebody Please Think of the Children?

Working at a school for boys with societal and behavioral difficulties can be challenging. How challenging? Don't ask writer Max Porter and director Tim Mielants, who join hands to make "Steve." The movie is based on Porter's 2023 novella, Shy, which I have not read. However, from the Wikipedia page, I learned that Kevin Power, in The Guardian, described the book as something "interested in questions of childhood and maturity, cruelty and compassion, art and despair." "Steve" doesn't seem interested in such great questions. It isn't very interested in its own characters. Who is Steve (Cillian Murphy), apart from being the headteacher of Stanton Wood Manor? Why does he care about these troubled boys? What does he seek to fix in himself by fixing his pupils? "Steve" offers faint indications—like a car accident—but the fact that it leaves things vague only proves that Mielants wants to make one of those "art-house" films that mistake fuzziness for subtlety and depth. You are, ahem, invited to read between the lines and fill in the blank spaces. In other words, you are encouraged to do the work of a screenwriter.

We know that Steve and his colleagues work hard for the boys and undergo a lot of stress because the movie heavily underlines this point. In fact, this is the only point the movie has to underline. Steve is constantly on the move — he's always restless. His eyes are so wide open, it seems as if he has not had a good night's sleep in ages. The handheld, shaky camera mirrors this nocturnal agitation. It has the look of a documentary with an aesthetic that screams for attention. "Steve" is the kind of film I refer to as "workout cinema." In these movies, everything is so jumpy, so swift, so absolutely in constant motion that the viewer's heart starts beating rapidly, as if they are doing cardio exercises. For some critics, this sensation might serve as proof that they have experienced something substantial, that the movie has substance. And "Steve," with its slight hints and showy camera movements, ensures that its shallowness is hidden behind numerous cinematic embellishments.

There is a reason why Mielants and Porter decide to cover the events of a day when the documentary crew visits Stanton Wood Manor. Their presence makes explicit the awareness of being filmed, of performance. The children don't put on an act; they remain insolent. It's Steve who attempts to put on a happy face. He smiles, even though he says he is very, very tired. If "Steve" were actually a movie about its characters, we could have taken these expressions as a sign that Steve puts a lot of effort into his work and that his determination deserves recognition. But "Steve" is all show, no substance. What it foregrounds is Murphy's intense performance, his dedication. The actor overrides the character. Murphy the producer provides Murphy the actor with a platform to show off his actorly talents. Steve has just enough stress on his plate to give Murphy the necessary tools to craft a conspicuous performance—the kind that generates acclaim from all corners.

The boys, we are told, have immense talent. Steve, in fact, praises one of them for his ability to remember insane details, every bit of information. But the movie mostly reduces these boys to mischief-makers. They fight, spit in each other's faces, and one character even sexually harasses a staff member (Simbi Ajikawo). The boys, though, are merely given a warning; the teachers really want to fix them. But there are budget cuts, the institution is understaffed, and it will finally be shut down in a few months. The last point adds more tension to an already tense day. But this tension, alas, is nothing more than an aesthetic. The characters on the screen don't have a well-defined past and, by extension, a well-defined future. They exist in the moment—that is, only as long as the camera is on them. Apart from being a showcase for Murphy's skills, "Steve" serves as a mental health PSA. The payoff is the text at the end that encourages viewers to contact mental-health professionals. This makes "Steve" a movie of mere good intentions. Murphy, the producer, doesn't kid around; he uses his money to educate the audience. What education people will derive from "Steve" is a question I don't find exciting enough to consider. What I know is that the movie will spark discussions about Murphy, the actor. I guess the money has been spent well.

Final Score- [2.5/10]
Reviewed by - Vikas Yadav
Follow @vikasonorous on Twitter
Publisher at Midgard Times