Directed by Bethany Ashton Wolf
Starring – Alex Roe, Jessica Rothe, John Benjamin Hickey
THE PLOT – The film tells the story of country music super-star Liam Page (Alex Roe) who left his bride, Josie (Jessica Rothe), at the altar choosing fame and fortune instead. However, Liam never got over Josie, his one true love, nor did he ever forget his Southern roots in the small community where he was born and raised. When he unexpectedly returns to his hometown for the funeral of his high school best friend, Liam is suddenly faced with the consequences of all that he left behind.
Rated PG for thematic elements including drinking, and for adult language
– The musical soundtrack of original and unoriginal offerings by Brett Boyett actually isn’t half bad. It’s no secret that this critic isn’t a fan of modern day country music, but Boyett’s feeling for stirring b-side ballads make more than a few of the songs featured in the film earworms, long after you’ve left the theater.
– Whether intentional or not, the film did give me a few laughs which kept this film from ever feeling like it dragged, or that I was having a truly terrible time.
– Pure for the whole family, leaving much of the provocative pull of the book on the shelf to cater to a fraction of the audience that the film will pull in.
– As a screenwriter, Wolf has a very clouded vantage point of framing that had me scratching my head more than a few times. Liam is a dirtbag of a protagonist, yet we’re supposed to forgive him for leaving his bride to be at the alter because every character in the film does in a matter of seconds? Besides this, the film’s perception of fame is one that seems to come from a child’s mind, complete with music montages of fans chasing after Liam, as well as an over-burdening publicist who doesn’t feel human because she works for big bad Hollywood.
– In addition to Liam’s charming sentiment, he’s an alcoholic that never confronts his problem. For whatever reason, the film chooses not to explore this obvious direction that burdens him throughout the film, leaving much doubt in my mind that the film’s obvious happy ending will be anything but.
– The actors are terribly directed. Even Rothe’s shining star gets a noticeable downgrade here, lost in the sea of beautiful faces that live and breed by the ideal of all style and no substance. Love or hate me, the little girl played by Abby Ryder Fortson might be the single worst child performance that I’ve ever seen. Not that Fortson is terrible as a young actress, but her speech patterns and deliveries never sound remotely authentic to opposite children her age. It’s cute to hear her say something intelligent at first, but soon it becomes a nagging persistent problem with your immersion into the film.
– Roe and Rothe have about as much chemistry as a brother and sister experimenting. The two only kiss once in the entire film, and the fact that this unaffectionate, awkward plunge is the take that they went with, leaves you searching for any kind of passion to prove why they belong together.
– Every point of exposition feels rushed, leaving very little to resonate with the audience in terms of obstacles that they can get behind. If everything is settled and solved this easily, how can you ever expect any kind of dramatic tension to keeping audiences so involved in the story?
– Production mishaps. There is some terrible A.D.R with the actor’s mouthed wording that supplants a theory in my mind about the production. One scene in particular turns an obviously mouthed “Asshole” into “Jerk”, making me wonder if this was originally a PG-13 offering. If this isn’t enough for a full point, consider also the many times that extras both adult and children are caught looking at the camera in plain view. No care was taken at all in fixing these bumbling blunders.
– The air of Nicholas Sparks feels evident in Wolf’s writing. So much so that the beautiful countryside visuals and overall peaceful existence of these characters ever keep them from a taste of complication that keeps them on opposing sides. Because their reunion is more a speed bump than anything else, Wolf felt desperate to instill some third act adversity that could’ve been a very valued piece of exposition early on. As it stands, it just feels like a desperate ploy that quite literally comes out of nowhere.