The well-being of a terminally ill teenage girl could rest in the clutches of a newfound love with her next door neighbor, in ‘Everything, Everything’. Based on the Young Adult novel of the same name, the film centers around A 17 year old girl named Madeline Whittier (Amandla Stenberg), who has a rare disease that causes her to have to stay indoors 24/7 with her filtered air, free from the joys of adolescence . Her whole life is basically books, her mom Pauline (Anika Noni Rose), and her nurse Carla(Ana de la Reguera). One day, a moving truck pulls in next door. There she sees and meets Olly (Nick Robinson). Olly Bright is Maddy’s new neighbor. They get to know each other through emails. The more they get to know each other, the more they fall in love. Olly starts to make Maddy realize that she isn’t really living until she faces her fears and steps outside of the box. This starts the adventures of Maddy’s new life, stretching the stability of her fragile situation. Everything, Everything is directed by first time director Stella Meghie, and is rated PG-13 for thematic elements and brief sensuality.
When a Young Adult novel is translated from page to screen, there’s usually a big sacrifice involved in the screenplay to chop and edit the lengthy exposition that favored the unlimited amount of time in pages. Everything, Everything doesn’t necessarily suffer from these kind of problems, but there is a certain feeling of description and pulse from the pages that I took away from this movie. Considering we get a Young Adult romance movie every year now since The Fault In Our Stars stole our hearts in the Summer of 2014, the imitators often feel exactly that; imitation. But Everything, Everything has a heart that beats efficiently well because of the chemistry that is harvested by its two youthful leads, as well as a script that amazes within the first two acts for its simplistic touch in transpiring screenplay. There is the case for usual laughably executed cliches that reside fondly in these kind of movies, but they all echo to that place in teenage romance that burn on the plateaus of awkwardness and embarrassment that we’ve all been through at one time or another during our first loves.
What I commend Stella Meghie for in sense of direction, especially considering this is her debut film, is that she captures the purity within this interracial relationship, and never uses it as a gimmick or a balancing act in the adversity between the two. Their love is very organic and radiant because of an element of innocence that resides within Maddie’s personality in particular. As the film continues on, you begin to see the transformation within her in terms of her living for the first time because of this slice of the outside that has so fondly tightened his grip around her daily routine. Never for a minute does this movie require to bait racial divides as a subplot within its rich exterior, and I can’t say enough great things about what that does for the maturity of the film, as well as the progression of where our still narrow-minded world paints this kind of picture, nearly twenty years into the 21st century. This should be a story first and foremost about the kind of physical obstacles that divide them, and thankfully the film has enough of these to really throw a few kinks into the emotional investments of each-and-every one of the audience watching the screen.
I mentioned before that the script stays quite simplistic, and it accomplishes this by focusing purely on the growing friendship-turned-relationship between Maddie and Olly. The introduction to the film does tell us what we need to know about Maddie’s condition, but the visuals of a secluded house that feels light years away from the outside world does more than enough to tell us about the fragile situation that this girl entails every single day. I found myself finding the first hour of the movie corny but cute, never for a second alienating its teenage audience who will shell out the bucks to see it. The chemistry between this duo intrigued me enough to where I felt that their relationship was the only thing that I needed to be entertained for an hour-and-a-half, even if it lacked complexity or depth with couples like Hazel and Augustus from The Fault In Our Stars. The second act ups the stakes slightly, as the duo take an exotic trip that really stretches the immunity of Maddie’s condition. We’re so glued and invested in their growing bond that we forget that at any moment this whole thing could crumble down around them, and surprisingly, the disease is the least of the problems for them moving forward.
To say that I didn’t fully understand the direction or the pacing of the final act is an understatement. For an hour, the film didn’t need obvious suspenseful tropes to be used to springboard the intrigue for this very film, and then in the last half hour, the whole story kind of gets flipped on its head with a plot twist that does stretch the boundaries of believability quite a bit. Even in the novel sense, this alteration in direction and tone for the movie does feel desperate with needing a dramatic pulse to close out the film. I mentioned the pacing a minute ago, and it feels like so much is crowded into this final half hour that you could’ve easily stretched this film to two hours, creating a fluent flow of sequencing that would at least give respect in time to these serious hurdles that often feels slighted over. It didn’t completely ruin the movie for me, but the flaws of cramming too much in and shattering the conveniences of conventionalism within this young romance, gave off the impression that two contrasting films were being pushed together to craft a Frankenstein monster that only has one leg to stand on.
As for the performances, nobody does a terrible job, but in the case of our two leads, it constantly felt that they were better whenever they were together. Separately, there’s just not enough material for any of them to take control of the screen. Most notably, Stenberg’s Maddie is the most versatile and commanding of the entire cast, and not just because she is in 95% of the scenes, but more so that this young phenom warms our hearts with a smile that could and often does light up a room. Together, Robinson and Stenberg show us what it means to be young and experience the single greatest emotion that elevates the both of them from their empty lives. I wish some more emphasis was used on Olly’s subplot with his abusive Father. I feel like this would’ve given Robinson the opportunity to equal his female counterpart, but as far as male protagonists go, Olly just isn’t given the screen time to make him truly memorable.
THE VERDICT – Everything, Everything has enough soul to go with its overwhelming heart, to make this truly one of the most splendid surprises of the Spring season. Between the dynamic duo of Steinberg and Robinson, as well as the majority of the script that depicts a feel good romance without stooping to levels of Nicholas Sparks, Meghie’s first sit in the directing chair is a rousing success that has the powerful push to steer beyond the sometimes eye-rolling dialogue and shoddy third act. Target audiences will swoon under a weeper that warmed the center of even this cold-hearted critic.