Contrived ‘It Ends With Us’ Fails to Connect In Any Meaningful Way

Contrived ‘It Ends With Us’ Fails to Connect In Any Meaningful Way

By Lynn Venhaus
An important message about domestic violence in “It Ends with Us” is diluted by the film adaptation’s shallow, superficial trappings that favor a glossy lifestyle magazine approach to a serious issue.

Based on Colleen Hoover’s 2016 bestselling romance novel, this is the story of Lily Bloom (Blake Lively) who opens her dream floral shop in Boston. She marries the brother of her best friend Allysa (Jenny Slate), a handsome neurosurgeon Ryle Kincaid (Justin Baldoni, who also directed).

But she is reminded of her father’s abusive treatment of her mother when her controlling husband’s jealousy escalates. She becomes a victim herself once her first love, Atlas Corrigan (Brandon Sklenar), reappears. She has tough decisions to make about her future.

Hoover’s bestselling novel has been faithfully adapted by screenwriter Christy Hall, according to people who’ve read the novel (a book club favorite), but the contrived cookie-cutter romance lacks any whiff of authenticity. Oh, the movie characters have been aged as compared to the book — Lily was 23 and Ryle 30, and the actors are 35 and 39 in real life.

The illogical soap opera unfolds with flashbacks to Lily’s childhood, where she befriends Atlas, a fellow high school student down on his luck. Their younger selves are convincingly portrayed by Alex Neustaedter, who was in the Jeff Daniels’ series “American Rust,” and a striking naturalistic Isabela Ferrer.

Despite gauzy impressionistic snapshots, they swiftly establish a believable connection that continues in the adult portrayals of Lily by Blake Lively and Atlas by Brandon Sklenar. Their genuineness sharply contrasts with the adult Lily-Ryle relationship that feels too forced, straining credibility.

While limited in their acting ranges, Lively and Baldoni are very attractive people, but the film’s poor editing choices rely too much on repetitive close-ups. Their rapid courtship, which shouldn’t involve this much eye-rolling, mostly focuses on their mannequin physiques.

When that pairing quickly erodes once they marry, the obvious red flags make any feelings seem manufactured between the supermodel-looking couple.

 Baldoni, who also directed, played Rafael for five seasons on the TV series “Jane the Virgin,” and directed the high-concept romantic drama “Five Feet Apart” in 2019.

Without spoiling character development, his inability to emote other than steamy kissy-face scenes result in improbable actions and silly scenarios as the hotshot doctor. The shot selection opts for a designer cologne commercial look, which makes it difficult to relate to the main characters in any sincere way.

When the choppy, clumsy storytelling finally zeroes in on the truth-revealing conflicts, the reliance on quick-cut violent outbursts lessens the impact of what they are trying to achieve.

Because physical abuse is mostly implied than pictured (except for one harrowing but badly executed and confusing scene), Lively’s minimal facial injuries are easily covered up by make-up. 

By barely resembling honest situations, the film drops the ball on what should have been motivating advocacy.

Quirky Jenny Slate is appealing as offbeat Allysa, who starts as Lily’s employee but becomes her best friend and trusted advisor. She seems to be tasked with the heavy lifting. Her character’s devoted husband Marshall is humorously played by Hasan Minhaj of “The Daily Show,” but he’s primarily a vehicle for comic relief.

The flimsy character development is a hindrance for Sklenar as Atlas, who now, after serving eight years in the Marines, is a renowned chef with his own hit farm-to-table restaurant, Root. It’s the hotspot in Boston, which drives Ryle over the edge.

Pegged to be the knight in shining armor, Sklenar, who played Spencer Dutton in the “Yellowstone” prequel “1923,” is reduced to long, loving, piercing gazes at Lively. And he’s used awkwardly.

The revered character actress Amy Morton’s lack of identity regarding Lily’s mom Jenny wastes her talent and whatever meaningful voice the character could have contributed as a victim who chose to stay.

Costume Designer Eric Daman, who worked with Lively on TV’s “Gossip Girl,” has chosen puzzling lumberjack-style outfits that seem odd choices for Lively, although he occasionally pulls out all the stops for dazzling party attire and stylish shoes (that seem very out of budget for the fledgling florist, but he did work on “Sex and the City” and we know how reckless Carrie was with the money spent on designer shoes). The baggy ensembles look odd when Lively walks down busy streets.

“It Ends with Us” could have shed more light on signs of domestic abuse, behavioral patterns to recognize, and ways to get help, other than a mere tagline in the credits while some overwrought pop song plays.

That was a missed opportunity, in favor of a Lifetime-quality movie with shiny pretty people making its only point that affluent, well-educated adults can hide destructive secrets.

One line delivered feebly: “I can get help” isn’t followed with any action, so any serious intentions to raise awareness are abandoned, which is unfortunate.

With its triggering scenes treated so cavalierly, the effort’s inept approach diminishes its effectiveness, and turns out to be an exasperating waste of time.

“It Ends With Us” is a 2024 romantic drama directed by Justin Baldoni and starring Baldoni, Blake Lively, Brandon Sklenar, Jenny Slate, Isabela Ferrer, Amy Morton, Alex Neustaedter and Hasan Minhaj. The film is rated PG-13 for domestic violence, sexual content and some strong language,.and the runtime is 2 hours, 10 minutes. The film opened in theatres on Aug. 9. Lynn’s Grade: D+.

Imaginative ‘IF’ Misses Mark to Spark Magic Because of Darker Themes

Imaginative ‘IF’ Misses Mark to Spark Magic Because of Darker Themes

By Lynn Venhaus
On the surface, “IF” looks warm and fuzzy, a relatable story about the power of imagination and how it affects our childhoods. And while there is much to like about the film, the whimsy doesn’t quite live up to the magic it strives to capture.

While being imaginative and heartfelt, it is also sad and dark, which may confuse parents of young children who are unaware of the story’s tragic elements. The 12-year-old heroine, Bea, who has been through some things, faces another potential heartbreak.

Writer-director John Krasinski, who knocked it out of the park with his “A Quiet Place” films, was inspired by his two daughters to make a live-action Pixar movie, and the ambitious concept is a dandy one.

Yet I struggled to make sense of this alternate reality, for the logic doesn’t seem to be there, even in a fantasy. Lonely Bea, dealing with loss and staying with her grandmother while her dad is in the hospital, meets neighbor Cal, who sees abandoned imaginary friends. 

Cal serves as a matchmaker of sorts, finding new pals for IFs to hang around with, and be useful, for their previous childhood buddies grew up. Think of him as the guardian of the portal. He enlists the earnest and creative Bea.

Cailey Fleming is heart-tugging as a guarded Bea, and warms to Carl, wonderfully played by Ryan Reynolds, who appears more vulnerable than his usually jovial characters. His trademark snappy patter is here, but he’s also some emotional heft to display.

As a human, he blends into the visual effects with flair, standing out in two scenes that wow – a splashy dancing sequence and one where he materializes from a painting.

Reynolds’ agility goes a long way in liking Cal, and his story arc that comes full circle in the third act just might bring a tear to your eye, like it did mine. In fact, my tissue got a workout, like when I watched Pixar’s “Coco” and “Toy Story 4.”

The point about the need for human connection is well-taken, particularly after living through the global coronavirus pandemic. The central theme of the film is loss and grief, and the opening montage is comparable to the start of Pixar’s “Up.”

I can’t recommend this for children under 8, and don’t think a PG-rating is enough warning. If you take young children, be prepared to address some heavy questions.

And there are a few disconcerting choices – Bea walks to a bodega late at night alone, and we’re talking New York City (OK, Brooklyn, but…) and grandma (Fiona Shaw) is apparently OK with her wandering the city by herself.

Granted, we can’t shield our children from life’s cruel blows, and even classic Disney films feature death – Mufasa in “The Lion King” and the momma deer in “Bambi” come to mind – but this film’s marketing makes it look like shiny, happy people having fun.

Nevertheless, the all-star voice cast delivers funny and charming characterizations of various creatures, including Steve Carell as Blue, a gentle Muppet-like giant, and Phoebe Waller-Bridge as a cartoonish Betty Boop named Blossom.

In less substantial but full of personality vocal performances are Krasinski’s wife Emily Blunt as an excitable unicorn, Amy Schumer as a high-strung gummy bear and George Clooney as a spaceman (remember “Gravity”?). In his final role, Louis Gossett Jr. is a wise Teddy bear.

Christopher Meloni plays one of the more animated characters, Cosmo, and the who’s who of Hollywood includes Brad Pitt, Matt Damon, Blake Lively, Matthew Rhys, Jon Stewart, Maya Rudolph, Sam Rockwell, Awkwafina, Bill Hader and Keegan Michael-Key. Outstanding talent is assembled, but with so many, not everyone gets moments to shine, more like snippets.

Alan Kim, whose breakthrough role was in “Minari,” plays Benjamin, a hospital patient who befriends Bea, and it’s a sweet, but underdeveloped character

The film does have a striking fairy tale-storybook glow to it, courtesy of cinematographer Janusz Kaminski, who has worked with Steven Spielberg since 1993 and won Oscars for “Schindler’s List” and “Saving Private Ryan.”

Jess Gonchor’s production design is also noteworthy, especially using Coney Island as a fantastic playground for the IFs, as well as a nifty retirement home. Gonchor, longtime collaborator with the Coen Brothers, also created the striking set design for “White Noise,” another difficult world to build. He previously worked with Krasinski on “The Quiet Place, Part II.”

Jenny Eagan’s costume design is delightful, and the army of special and visual effects wizards dazzle with their playfulness.

Krasinski’s heart is in the right place, and the intention is admirable, if not the execution. While the third act redeems the storyline to an extent, the movie fails to live up to expectations, which is a letdown, given the enormous amount of talent involved.

“IF” is a 2024 comedy-drama-fantasy written and directed by John Krasinski, starring Ryan Reynolds, Cailey Fleming, Fiona Shaw, Steve Carell, Alan Kim and Krasinski. Rated PG for thematic elements and mild language, its runtime is 1 hour, 44 minutes. Opens in theatres May 17. Lynn’s Grade: C