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Joe Bell is a tale of emotional redemption for a man who relearns what it means to “be a man,” and his moments of triumph are the quietest ones.
Wahlberg, delivering a performance that feels like community service, just isn’t up to driving a drama whose conflict is almost entirely internal; his default setting of sneering irritation is the wrong tool for the job. It leaves you wondering if this should have more fully been Jadin’s story, especially given the sensitivity of Miller’s turn.
The entirety of Good Joe Bell is an awakening not for those who actively harm at-risk youth like Jadin, but those who don’t realize the implicit harm they’re supplying by centering allyship on themselves rather than those they’re supporting.