[Early Review] Five Feet Apart (2019)

Director: Justin Baldoni

Cast: Haley Lu Richardson, Cole Sprouse, Moises Arias, Kimberly Hebert Gregory, Parminder Nagra, Claire Forlani

Screenplay: Mikki Daughtry, Tobias Iaconis

116 mins. Rated PG-13 for thematic elements, language and suggestive material.

 

Following in the footsteps of films like A Walk to Remember and The Fault in Our Stars, Five Feet Apart is a teen romance film dealing with a whole lot more than romance. It’s basis in Cystic Fibrosis gives it a shot of something I haven’t seen in a romance film, and unfortunately, that was the only thing unique about it.

Stella (Haley Lu Richardson, The Edge of Seventeen, Operation Finale) has CF, but she has a system. She knows what meds to take and when, when she needs to wear her afflovest, and exactly what she must do to remain on the list for new lungs. So when she meets Will (Cole Sprouse, The Suite Life Movie, TV’s Riverdale), another CF patient with no solid drug regimen, no plans to get better, and no hope, it drives her crazy. She insists that he let her help organize his drug cart in an effort to help him stay healthy, and in doing so, the two begin a bond that becomes something more powerful, but they cannot move forward together without breaking an important guideline for CF patients: that they cannot be closer than six feet to avoid cross-contaminating each other.

I found the Cystic Fibrosis layer of Stella to be incredibly interesting and powerful. I’ll be someone who admits to not know much about the ailment, so I was interested and captivated by her strength in fighting for each day. It’s nice that the filmmakers worked alongside the Claire’s Place Foundation to get all the details right about CF. I also found it interesting how she evolved as a character by her relationship with Will. Until the end. There’s some events and scenes surrounding her arc in the latter half of the film that I didn’t believe. There’s a lot about the third act that completely falls apart, in fact.

I think that Richardson and Sprouse had nice enough chemistry but nothing that really stuck. Their romantic relationship was one of the more boring elements of the film. It hits all the familiar beats of any romantic entanglements. At the end of the film, some bad decisions are made in the name of love, and I didn’t find myself seeing the point in the bad decisions. Where the relationship ends up at the end of the film is also something that seemed like exactly where I expected it to go. All in all, I was completely uninterested in the central crux of the story.

Five Feet Apart is rather forgettable as a love story but the CF stuff is interesting and insightful. Everything outside the romance is engaging at least. It’s just a problem that the film is a love story. Save your money on this one; there are better films at your cinema.

 

2/5

-Kyle A. Goethe

[31 Days of Horror Part V: A New Beginning] Day 18 – Carrie (2013)

Director: Kimberly Peirce

Cast: Chloe Grace Moretz, Julianne Moore, Judy Greer, Portia Doubleday, Alex Russell, Gabriella Wilde

Screenplay: Lawrence D. Cohen, Roberto Aguirre-Sacasa

100 mins. Rated R for bloody violence, disturbing images, language and some sexual content.

 

Many people know the love I have for the novel Carrie. There have been three adaptations of the classic novel (the original film even had a sequel), most recently in 2013, directed by Kimberly Peirce (Boys Don’t Cry, Stop-Loss). That’s the one we are talking about today.

Carrie White (Chloe Grace Moretz, Let Me In, November Criminals) is a troubled girl with a difficult life at home. Her mother Margaret (Julianne Moore, The Hours, Kingsman: The Golden Circle) is a religious fanatic who believes the very birth of her daughter to be one of the most sinful acts in her life. At school, Carrie is not popular. When she experiences her first period, she is tortured and ridiculed by her female classmates, led by Chris Hargensen (Portia Doubleday, Youth in Revolt, TV’s Mr. Robot). Many of the girls later feel terrible about their actions, including Sue Snell (Gabriella Wilde, The Three Musketeers, TV’s Poldark), who devises a plan to make things right with Carrie. Chris, though, devises a plan of her own, that will push Carrie to the breaking point. What the girls don’t know is that Carrie White has an amazing gift, one that she cannot control. This gift has incredible and horrifying potential that will forever alter all their lives.

This is a film that brings to life a classic argument among film criticism. The crew, including director Peirce, claim that this incarnation of Carrie is a re-imaging of the classic Stephen King novel. Unfortunately, this film is very little more than a scene-by-scene remake of the original film. It even uses the original screenplay by Lawrence D. Cohen with added updates and a few tweaks by Riverdale creator Robert Aguirre-Sacasa. It just feels hollowly made. It’s difficult to blame the studio for interfering (the film was notoriously heavily re-edited after poor test screenings, cutting somewhere around 45 minutes from the finished product) because of just how much the movie feels like a retread of the original.

Moretz and Moore are terrifically cast as daughter and mother White. Peirce fills the rest of her cast with the hottest young stars of 2013, including Ansel Elgort in his first film roll as Tommy Ross, Sue Snell’s boyfriend. Elgort does a pretty nice job as Ross as well.

The film is well shot and features some truly impressive camerawork. What muddles the final product is the atrocious CGI (it didn’t look very good in 2013 either). Some of it is truly cheap-looking. The movie didn’t need some of the more stylish CGI, so I don’t understand the need to use it, especially in the last third of the film.

Carrie is fine, but it beckons to be compared to Brian De Palma’s superior film from decades back. It features some fine performance work but there are some technical issues with marr the film’s watchability. It’s too bad, because there are shades of incredible here, but it just feels too similar, and in that way, unnecessary.

 

2.5/5

-Kyle A. Goethe

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