Coley, 17, from rural Oregon, navigates intimacy after her mother’s passing. Meeting Sonya sparks new feelings, but self-doubt hinders their connection. Sonya, unfamiliar with dating girls, is uncertain. They learn to embrace emotions.
Girls Like Girls is directed by Hayley Kiyoko which is her directorial debut.
Girls Like Girls is a film that’s based off of Kiyoko’s song and music video of the same name. While at times you can definitely feel the music video element here, for the most part the film ends up being a quite solid coming of age film that truly does have a lot of heart due to how well acted and written it is.
Maya da Costa gives a strong debut performance, she brings her character Coley to life and captures all of the awkwardness and struggle to figure out who you really are and what you want in life. The little moments of Coley trying to figure out what to say or how to react to certain situations feels all too real due to her performance and commitment. Myra Molloy as Sonya is also quite strong here as well, she has excellent chemistry with da Costa and the scenes of the two are the film’s strongest moments. Seeing the bond between them form over the course of the movie does actually feel quite natural (with some liberties taken.)
Some of the film’s strongest writing comes from Coley slowly starts to develop romantic interest in Sonya who recuperates those feelings at first but then gives mixed signals due the possible consequences of hurting the dynamic of the two as friends. This is explored quite well and surprisingly natural, yes some of the dialogue can be a bit on the awkward side but I actually do think the film manages to compliment on that awkwardness and make it work.
The rest of the film is quite solid, the film’s atmosphere does give this nostalgic type of feel of moving to a brand new town as a kid and having to meet new people and explore the world around you. This compliments Coley’s story quite well and brings this focus on the bonds she makes and the world around her.
The film ends with ambiguity but one thing worth noting is the film does have a post credit scene showing a clear answer to the status of Coley and Sonya’s relationship. It’s a little puzzling as to why the movie decided to end on ambiguity but then immediately clear that up, this does not necessarily hurt the movie all that much. It was just sort of a very odd choice.
Overall Girls Like Girls is quite straightforward, It’s material is elevated due to the performances from da Costa and Molloy plus the film’s genuine and natural feel of capturing how teenagers act and talk towards one another. It’s unclear whether or not director Hayley Kiyoko is going to continue exploring with film, but it would definitely be interesting to see what her sophomore feature would look like.
Girls Like Girls is available on all VOD platforms.
Jill leaves voice messages to her deceased sister telling her about her chaotic life in San Francisco. Unwittingly, a mysterious Austin TX real estate agent begins to receive their confessions..
Voicemails For Isabelle is directed by Leah McKendrick director of Scrambled (2023).
Every once in a while you get a Netflix romantic comedy that surprises you due to how solid it really is. Voicemails For Isabelle is one of those films, it definitely has its flaws and some usual genre cliches. However you can’t help but fall in love with this one simply due to its charm, performances and a few note worthy scenes that really tie the whole thing together.
The performances here are all pretty solid, Zoey Deutch continues to find her home in the romantic comedy genre, Ciara Bravo’s performance is filled with emotional depth and Nick Robinson is just fantastic. It’s great to see Robinson in a leading role after so long because the wait was well worth it. The cast do such a great job of balancing the film’s humor and the more dramatic moments as well.
Right from the start this film comes out swinging with one of the best uses of Robin’s song “Dancing On My Own”, it’s very much an Up (2009) style beginning but it’s effective and works beautifully. The film also ends with “Dancing On My Own” that scene in particular made me tear up, the film’s build up was well worth it and really completes the journey that Jill Shaw has experienced.
As for the rest of the film? It’s quite great, as I said there are definitely some genre cliches that get a bit in the way of the experience. But I do think for the most part the character writing is handled quite well, the whole theme of love between sisters is beautifully done and told in a quite raw way. What really helps the film in the long run is the strong chemistry the cast has between one another, it makes the film far more real and pop out a bit more.
Overall Voicemails For Isabelle is one of the better Netflix romantic comedy films in recent memory, it has its flaws but it makes up for them with some strong act, great writing and beautiful moments.
Detective Enola Holmes heads to Malta, where her aspirations merge in her most complex and dangerous case yet.
Enola Holmes 3 is directed by Philip Barantini director of Villain (2020), Boiling Point (2021) and Accused (2023). The film serves as a sequel to Enola Holmes 2 (2022).
I’m not going to write an extensively long piece about the Enola Holmes series and my experience with it, because honestly the first two movies were cute movies that had their charm and that is really about as deep as it goes. Enola Holmes 3 shows that this series has overstayed its welcome and it might be time to move onto something else.
Millie Bobby Brown does a fine enough job here, but the spark she had in the first two movies is very noticeably absent. The performance just does not land as it did previously, Henry Cavill takes a backseat for a large portion of the movie and much like Brown, his performance has gotten noticeably worse as well. Which this is a bit of a shame because I did find Brown and Cavill decently charming in the previous two movies.
To say I was shocked that Barantini directed this would be an understatement, coming off of last year’s highly successful and acclaimed series Adolescence to this is quite baffling. The direction here is incredibly poor and has no idea what it wants to say or focus on, when you mix this in with the script from Jack Thorne you lead to some very underwhelming results.
The theme this movie attempts to tackle is British colonial history which for a movie series that prides itself on talk about important subjects, the movie does a quite poor job of exploring the subject. It makes surface level observations such as “look guys this was really bad” which is quite honestly embarrassing, it truly does feel like studio executives patting themselves on the back for being performative. It can very well be argued that the previous two movies are just as guilty of this (and I would agree with you), but at the very least they were competent movies that had good things about them. With this movie you do not get that at all and the studio executives feel is a lot more blatant here.
Overall Enola Holmes 3 is quite easily the worst of the series and it’s really not even close. It adds nothing new to the series and only brings the series backwards.
Enola Holmes 3 is available on Netflix.
3/10 D-
A handwritten manuscript of Dante Alighieri’s poem “The Divine Comedy” makes its way from a priest to a mob boss in New York City, where it is taken by Nick Tosches after he’s asked to verify its authenticity.
In The Hand Of Dante is directed by Julian Schnabel director of Basquiat (1996), Before Night Falls (2000), The Diving Bell and the Butterfly (2007), Miral (2010) and At Eternity’s Gate (2018).
In The Hand Of Dante is a prime example of movie that the only question going through your mind is “how on earth did this happen?” I’m going to keep this short simply because this is one of those terrible movies where it’s not even bad in an interesting way. It is a pretentious mess that thinks so highly of itself yet its saying very little with incredibly poor acting.
Martin Scorsese is the best part about this movie and not even him being dressed up as a Gandalf and Dumbledore hybrid could save this mess (he only has a couple of scenes as well, keep in mind this movie is 2 hours and 33 minutes long.) Scorsese seems to be the only one who is able to give a somewhat decent performance, it’s not terrible and it is almost certainly not something that belongs in the looney bin like some of these other performances.
If you want to hear one of the worst Italian accents ever put to film like no further than Gal Gadot. It’s truly baffling how not a single person on set questioned this, she has no chemistry with Oscar Isaac and the movie trying to build her character does not work at the slightest. Jason Momoa and Gerard Butler feel like cartoon characters trying to copy the behaviors of humans (some of these scenes go on for so long it becomes awkward.) Oscar Isaac does not necessarily give a bad performance it’s just one that is so forgettable and feels like a whole lot of nothing.
Lastly the movie trying to capture the whole Classic Hollywood noir of the 1940s and 1950s is embarrassing. The atmosphere that made those films so great is just not present at all here nor is the thrills. There are some admittedly beautiful locations but that’s where it really ends, the movie’s mystery is confused and does not offer any sort of strong connection with the characters or its themes. It’s a complete and total mess that can only be described as a science fair project that was done the day before it was due.
Overall, In The Hand Of Dante is a disaster of a movie that is truly baffling to watch. This is one of the most bafflingly bad movies I’ve seen in quite some time.
In The Hand Of Dante is available on Netflix.
1/10 F
Jackie, President and CEO of Air Cruz, runs a tight ship in her business, including a rigid anti-fraternization policy for all her employees, which is severely tested when a sexy new lawyer begins working for her.
Office Romance is directed by Ol Parker (or Oliver Parker) director of Imagine Me & You (2005), Now Is Good (2012), Mamma Mia! Here We Go Again (2018) and Ticket to Paradise (2022).
Office Romance does not have a whole lot going on here with the exception of the birthing scene that seemingly comes out of nowhere. It’s clearly only here for shock value and that’s really about as deep as it goes. Everything else about this movie is incredibly bare bones romantic comedy cliches.
Jennifer Lopez, Brett Goldstein and Betty Gilpin give fine enough performances, but none of them are quite enough to save the movie from being a chore to sit through. They each get one or two moments to shine, but really that’s where it ends.
The movie heavily relies on its cast to do all of the heavy lifting and carry the movie to the finish line, but completely forgets that you need a good script to help give the cast something to work with and that is just not present here at all.
A happily-engaged couple is put to the test when an unexpected turn sends their wedding week off the rails.
The Drama is directed by Kristoffer Borgli director of DRIB (2017), Sick Of Myself (2022) and Dream Scenario (2023).
After Dream Scenario (2023) I was very curious to see what exactly Kristoffer Borgli was going to follow up with, The Drama is quite a fantastic film that combines this completely bizarre scenario with a surprisingly grounded atmosphere. It’s one hell of a ride that the viewer never wants to get off of throughout its running time.
For starts the performances are all fantastic across the board. Zendaya gives yet another excellent performance, the body language used combined with the twists about her character Emma Harwood are bizarre yet Zendaya makes them all work perfectly. The willingness to tackle the film’s bizarre script as well as being able to capture the film’s atmosphere is truly impressive and elevates her performance.
The exact same can be said for Robert Pattinson, he gives an excellent performance that uses the same body language that Zendaya uses. The way Pattinson is able to master the film’s pitch black humor in such a casual way is truly some of the film’s biggest highlights.
Zendaya and Robert Pattinson are at their best when they are together, the two have this chemistry that automatically works as soon as you get into the film. Their characters are grounded and communicate a whole lot through their expressions and body language, there is one scene early on in the film that is a very clear showcase of this and only keeps adding up throughout the film. Alana Haim also takes the cake for playing one of the most unlikable characters I have seen in a film in a while which she absolutely nails.
The Drama goes for a couple of directions here, it obviously goes for the romance genre which is no surprise if you read the simple plot synopsis. What the film also goes for here though is this absurdist black comedy that really works for a number of factors. For one thing as I mentioned earlier the body language and expressions really help create this atmosphere that connects everything together. It’s like the pieces to a puzzle, it connects so effortlessly and just makes a whole lot of sense especially as the film slowly reveals the whole picture.
I’m not going to say too much else here since getting into the specifics with The Drama most definitely leads into spoiler territory, but I will say that The Drama is both quite a hilarious and truly chaotic ride that ends up being one of the best films so far this year. Everything comes together incredibly well which leads to fascinating results, go into this one as blind as you can.
When a woman crashes at an empty Italian villa, posing as the owner’s fiancée, she discovers an unexpected romance that could transform her life.
You, Me & Tuscany is directed by Kat Coiro director of Life Happens (2011), And While We Were Here (2012), A Case Of You (2013) and Marry Me (2022).
You, Me & Tuscany does not have a whole lot going on here, with that being said it is a decently fun romantic comedy that has its charm.
The movie mainly works due to Halle Bailey, she’s charming and does a fantastic job at bringing the viewer into the film. The character moments have just the right amount of appearances to help build Anna as a character, the rest of the characters are easy to love as well. It’s a very fluffy movie that knows exactly what its audience wants and gives it to them proudly.
The movie can be a bit too familiar for its own good, if you have seen any romantic comedy within the last 5-10 years you can probably make a pretty strong guess as to what is going to happen. You have the setup, the miscommunication and the third act declaration of love. It’s all there and despite being predictable the movie has just the right amount of fun, solid acting and atmosphere to push this one to the finish line.
Not much else to say here, if you are a fan of romcoms this one will do the job.
You, Me & Tuscany is available on all VOD platforms.
6/10 C+
An unexploded WWII bomb is discovered on a busy construction site in the centre of London. Chaos ensues as the military and police begin a mass evacuation against a ticking clock.
Fuze is directed by David Mackenzie director of Hell Or High Water (2016), Outlaw King (2018), Relay (2024) and a lot of others. Fuze suffers from the exact same problem as Mackenzie’s last film Relay did and it’s that the third act throws a wrench into the movie and not in an interesting or good way. The twist could be seen coming a mile away but it still does break the movie.
On the plus side you do get decent performances from Aaron Taylor-Johnson, Theo James, Gugu Mbatha-Raw and even Sam Worthington. They all really try the best with the script that’s given to them, there are some decently thrilling moments plus it has this atmosphere such as this whole “when is the bomb going to go off” type of one.
The main problem here really comes down to the movie’s script, the characters are incredibly paper thin in terms of both development and personality. Sure there are moments of somewhat interesting dialogue between the characters. But unfortunately those are very far and few in between, the story is very typical heist movie affairs which would be fine enough if the third act was not a complete and total mess with a very unsatisfying conclusion.
There really isn’t much else to be said here, Fuze luckily never leans into “bad” territory but this is certainly one that I really can’t give a recommendation.
A woman takes a job as a housekeeper in a NYC high-rise, unaware of the building’s history of disappearances. She soon realizes the community is shrouded in mystery.
They Will Kill You is directed by Kirill Sokolov director of Why Don’t You Just Die (2018) and No Looking Back (2021).
They Will Kill You is a movie that I wish I had a lot more to say but this is definitely one of those cases where “what you see is what you get” rings completely true. I do not mean this in a bad way, while the story is a large mess it’s everything else that really helps push the movie to the finish line.
Zazie Beetz is truly great here as it does seem like she was having the time of her life, even if some of the one-liners can come off as incredibly corny. Beetz is able to make the one-liners work decently well, she goes completely all out here especially during the film’s bizarre third act that actually compliments her performance. Myha’la, Patricia Arquette and James Remar are all great here as well, they contribute the right amount to leave an impact on the viewer.
The film definitely borrows from Read Or Not (2019) and Kill Bill (2003) it’s very noticeable and unfortunately does lead to some moments that aren’t as impressive since they have been done multiple times before. However the film’s action scenes are still genuinely fun and they have the chaotic atmosphere to back them up. The gore is also quite fantastic as well, if you are fan of action films with a lot of gore this one will definitely do the trick.
Finally there is the film’s bizarre third act which I actually think is the film’s strongest area, It’s incredibly campy and James Remar’s voice work is truly fascinating. What I do love about the third act is it’s not afraid to go all out, it unleashes all of the chaos that the film was building up to and stands by it.
Overall They Will Kill You might not have a whole lot going on story wise, but I do think everything else combined together makes this one at least worth a watch.
They Will Kill You is available on all VOD platforms.
6/10 C+
After prison, a woman attempts to reconnect with her young daughter but faces resistance from everyone except a bar owner with ties to her child. As they grow closer, she must confront her past mistakes to build a hopeful future.
Reminders Of Him is directed by Vanessa Caswill director of Love At First Sight (2023).
Reminders Of Him is the third film adaptation of Colleen Hoover’s books. I have only seen It Ends with Us (2024) which was terrible, I never got around to seeing Regretting You (2025) and looking at the reactions and reviews I’m probably going to keep it that way.
I guess by the default Reminders Of Him is the best of the bunch but that is really not saying a whole lot, while there are some decently done dramatic moments which is mainly thanks to Maika Monroe and Tyriq Withers. The movie almost immediately reminds you that you are watching a Colleen Hoover adaption and throws in some very poorly written dialogue that takes you out of the movie almost immediately.
The movie is about as predictable as you can really get, it’s one of those cases where you are just waiting for certain events to happen so the next one can proceed with how you expect them to. The chemistry between Monroe and Withers is also just not there at all outside of a few decent moments. It’s a shame because these are two really great actors they just have the misfortune of being stuck with a shallow script.
Overall there truly is not much else to say here, Reminders Of Him is a very forgettable movie that really overstays its welcome with a runtime of 114 minutes. Hadn’t it been for Monroe or Withers, the results would have looked far more ugly and terrible.
Reminders Of Him is available on all VOD platforms.
In 1930s Chicago, Frankenstein asks Dr. Euphronius to help create a companion. They give life to a murdered woman as the Bride, sparking romance, police interest, and radical social change.
The Bride is directed by Maggie Gyllenhaal director of The Lost Daughter (2021).
The Bride is not what you expect at all, sure it does take inspiration from the 1935 film Bride of Frankenstein. But rather than just being yet another Frankenstein adaption, this one chooses to go a very different route with some choices that are admittedly some huge swings. Not everything here works, but the elements that do really help this film stand out.
Jessie Buckley is quite fantastic here which isn’t really a surprise given how great of an actress she is. She actually plays a dual role, she plays The Bride and plays Mary Shelly, the ghost of the author of Frankenstein. She plays both these performances quite well, Buckley delivers an incredibly unhinged performance that has this unpredictable energy where it’s hard to read what she is going to do next. One minute she is having a somewhat normal conversation with someone and the next she’s twitching, yelling and saying the most bizarre sentences you could think of. In some cases this would be points against the movie, however Buckley does such a fantastic job of really capturing the bizarre atmosphere the film asks for that it ultimately works.
Christian Bale meanwhile plays Frank (or Frankenstein’s monster) who looks beaten up and has been through this multiple times before. He is sad, lonely, strangely gentle at times and can even get terrifying when needed. It’s a very different take on the character that is admittedly really neat and something that we the audience typically don’t lean into. I do think Bale’s best moments are when he and Buckley are causing chaos together. There is this nice yin and yang type of feel going on here with The Bride and Frank (at least in the beginning) that the film does explore.
As I said earlier the film is unhinged and it’s proud of it, there are times where the film definitely does not go far enough. However I do think the ideas presented are fascinating, the whole Mary Shelley’s ghost element strangely works incredibly well and fits into the narrative being told. Rather than showing how tragic these characters are, Gyllenhaal goes for a much more playful energy where these characters are chaotic and they are trying to figure out love, identity and revenge. Which I do think benefits the film far more in the end, sure thematically there is a bit of a mess going on here. But it’s the sort of mess that you can’t help but have fun with and genuinely appreciate.
The technical aspects are really strong here, especially the cinematography from cinematographer Lawrence Sher who goes for this large in scale 1920s film that mixes gangster movies and gothic movies. It’s an incredibly strange hybrid that works in the context of what the film is presenting. The score from Hildur Guðnadóttir fits the mood of the film and really brings the viewer into the experience.
Overall not everything in The Bride works but in the end it does end up being such a fun and genuinely great film. I admire the film for taking the swings it took and really not caring what anyone else thinks.
A passionate and tumultuous love story set against the backdrop of the Yorkshire moors, exploring the intense and destructive relationship between Heathcliff and Catherine Earnshaw.
Wuthering Heights is directed by Emerald Fennell director of Promising Young Woman (2020) and Saltburn (2023).
Wuthering Heights film adaptions have always existed, you have the 1939 film with Laurence Olivier, the 1992 version with Ralph Fiennes and Juliette Binoche, the 2011 film directed by Andrea Arnold and there is a TV movie plus a mini series. Emerald Fennell’s version is definitely more stylized which leads to both some really interesting elements and some elements that do hold this one back.
Before we get started I do want to say that I have not read the source material, I’m going to judge the film from what was presented. If you are interested in the controversies surrounding the film such as the casting choices I highly recommend looking that up as there are people who talk about this that are far more knowledgeable with the source material than myself. Now with that said, let’s get the ball rolling.
The performances are all quite solid although some are definitely better than others. Margot Robbie does have a few moments where she can feel a bit out of place with the film’s time period, despite that however she is able to land a great performance. I definitely think it’s one of those cases where as the film goes on the better her performance becomes, she adjusts to the film’s atmosphere and is able to make a decently compelling performance. Jacob Elordi is in the same spot as Robbie where I do think it takes him a bit of time to fit in with the atmosphere. But once he does, he is able to land some quite strong moments especially towards the end.
Robbie and Elordi are at their best when they share a screen together, these are by far the film’s better and more investing moments. Their dialogue bounces off of each other decently well and there is some firepower behind certain scenes. The chemistry has some quite strong moments that do bring the viewer into the film’s world, there are definitely some hiccups which mainly comes from how long the film is. But overall I do think the two are able to match the tragic picture that’s being painted.
Hong Chau and Alison Oliver are also pretty solid here, Hong Chau’s more quiet performance compared to the rest of the film being on a more louder scale makes for an interesting contrast. Alison Oliver provides the film’s more bizarre angle, she has this comedic relief aspect that slowly becomes more dark as the film goes on. Oliver captures this quite well and is not afraid to go all out.
The film’s best aspects have to be its cinematography combined with the music. The cinematography from Linus Sandgren is undeniably gorgeous, it matches the atmosphere the film requires and brings this large scale to the story. Even the film’s more simple shots have a whole lot going on in them, there is a striking amount of beauty going on here that does capture the film on this wondrous scale. The music from Charli xcx works incredibly well here, each of the songs are able to stand on their own and they complement their respective scenes. The music definitely does a lot of the heavy lifting when it comes to bringing the viewer into the experience of it all, a few notable mentions go to “Always Everywhere”, “My Reminder”, “Out Of Myself” and “Funny Mouth”.
Overall I do think Wuthering Heights as it stands is a decent film, it does go on for a bit longer than it should and it does have a very bumpy start. But I do think it gets better as it goes on resulting in a decent enough film.
Wuthering Heights is available on all VOD platforms.
A 24-year-old music critic gets romantically involved with members of an indie band in Montreal.
Mile End Kicks is directed by Chandler Levack director of We Forgot to Break Up (2017), I Like Movies (2022) and Roommates (2026).
Mile End Kicks on the surface may just seem like another coming of age film and while it does share some common traits, what Levack does here with the coming of age template is what makes this one stand on its own. Combine that with charm, fun, charisma, very well written characters and strong acting you then have yourself something quite special.
Barbie Ferreira as Grace Pine a music critic who is trying to accomplish her goals feels all too real, Ferreira’s performance has this natural tone of meeting a handful of people while also having this feel of loneliness. Grace Pine is trying to find her voice in the world and figure out what she really wants, Ferreira portrays this so beautifully and captures the different emotions the film goes for. Whether it’s humorous moments, heartfelt moments or moments of loneliness, Ferreira is able to quickly adapt to the change and go all out.
Devon Bostick and Stanley Simons are both fantastic here as well, Bonstick shows off how great of a comedic actor he really is. Plus much like Ferreira, he is able to quickly adapt to the film’s atmosphere. Simons also has some quite humorous moments as well and brings this sort of raw presence to the story. Ferreira’s chemistry with Bonstick and Simons is also quite great as well, the back and forth dialogue between them is grounded and has this charm that really draws you into the film.
What really sells Mile End Kicks is the film’s writing, I mentioned it before but there is this sense of loneliness to the film that anyone can really relate to. In particular this film is capturing this time in your late 20s where you feel alone in the world and have to find your voice and what you really want in the world. The natural dialogue between the characters really amplifies this, especially when this theme of feeling like there is something new that you are missing. This theme of old experience vs new experience that brings you on this road that has two completely different paths, it’s something everyone has experienced at least once in their life. The film really does a fascinating job of capturing this, showing it through the eyes of Grace and her experiences.
The humor and charm of the writing is just as satisfying, there is this beautiful tone that really captures the heartfelt moments and brings the experience front and center, the relationships that Grace forms feel complete as well as feeling like a much larger community in the film’s world. The slow burn aspect really brings the focus on building bonds and only brings the film’s desire to form these characters in such a beautiful light.
Overall Mile End Kicks is a beautiful film that Chandler Levack truly hit out of the park, it’s a coming of age story that hits all the right notes and does a lot more to make the film stand on its own. If you are a fan of the genre this is one that is absolutely worth seeking out.
Mile End Kicks is currently in theaters and expands to more theaters tomorrow.
Poppy wants to explore the world and Alex prefers to stay home with a good book, but somehow they are the best of friends. They live far apart, but for a decade they have spent one week of summer vacation together.
People We Meet On Vacation is directed by Brett Haley director of The New Year (2010), I’ll See You in My Dreams (2015), The Hero (2017), All The Bright Places (2020) and All Together Now (2020).
Netflix romantic comedies have set this terrible expectation for viewers, that’s mainly due to the poor quality and a majority of them being almost identical to one another. But every now and then you get one like People We Meet On Vacation that manages to actually be quite great, while it does have it’s flaws which basically comes down to familiar genre beats. There is this level of likability to the film that helps it cross the finish line.
Emily Bader and Tom Blyth both give very solid performances, the chemistry between the two is undeniably charming. It has this natural magnetic energy going on here that the viewer feels almost immediately from the moment they start sharing scenes together. Emily Bader does a fantastic job of making Poppy such a funny and lovable character that mixes well with Tom Blyth’s character Alex. Tom Blyth plays a different type of role here and he nails it quite well. It just mainly comes down to the chemistry and the two really nailed it, there’s this authentic feel to the film that we really do not get a whole lot from these Netflix romantic comedies.
The soundtrack is solid and fits the mood of each scene, the cinematography from cinematographer Rob C. Givens is shockingly quite great. There’s a lot of moments here where the film takes advantage of the setting and delivers some gorgeous shots that show off the setting in great detail.
The writing is solid, there’s some genuine funny moments that work in the film’s favor. While the character moments of the film are not grand, they do add up to being quite meaningful towards the end. The film definitely has familiar beats but luckily it never goes the incredibly predictable route and opts for a more natural and grounded approach.
Overall People We Meet On Vacation isn’t anything groundbreaking, however it is incredibly refreshing to see a romantic comedy be effective and accomplish what it’s being sent out to do. Great performances, solid pacing and solid natural dialogue, I recommend giving this one a look.
People We Meet On Vacation is available on Netflix.
Jerome Reviews... 