Directed by Michael Sucsy
Starring – Angourie Rice, Justice Smith, Maria Bello
The Plot – Based on David Levithan’s acclaimed New York Times bestseller, Every Day tells the story of Rhiannon (Rice), a 16-year old girl who falls in love with a mysterious soul named “A” who inhabits a different body every day. Feeling an unmatched connection, Rhiannon and A work each day to find each other, not knowing what or who the next day will bring. The more the two fall in love, the more the realities of loving someone who is a different person every 24 hours takes a toll, leaving Rhiannon and “A” to face the hardest decision either has ever had to make
Rated PG-13 for thematic content, adult language, teen drinking, and suggestive material
– No matter how ridiculous in concept, I do enjoy a film that takes an idea in plot and can at least have fun with it. There are several attempts at humor when it comes to this spirit inhabiting these bodies that occasionally gave me a light chuckle to the unfolding absurdity.
– Angourie Rice proves that she might be one of those few child stars who makes the transition seamlessly to adult actor. Here, Rice is the dominant focus for the film, and through that majority of time spent with her we are treated to an emotional register for how complicated adolescence can truly be. Everyone else in the film was disposable, but she gave me levels of substance that I greatly appreciated.
– Soft lens kind of cinematography that articulately channels indie romance flicks beautifully. This graduates the source material from a young adult origin to a mature adaptation before our very eyes.
– I am so thankful that the final ten minutes of the film addressed many of the problems that I had with where this romance is going. For instance, what if Rhiannon gets pregnant someday? What if people see her with a new man or woman every day? What if a body is taken over by A that is suicidal? The film not only explores these ideas, but does so in a way that feels responsible to the ending.
– Any chance where I get to hear that 80’s reminiscent sounds of The The’s ‘This is the Day’ is a pleasure-filled delight. This song not only slyly winks at the film’s unfolding events, but also serves as a meaningful way for Rhiannon to distinguish who is A.
– The film’s beginning almost feels like we’ve stumbled upon a film that has begun with another film already in progress. I say this because much of the initial first few scenes proceed with very little exposition for those of us in the audience who haven’t read the novel. It threw me off because I always expect the introductions to either explain the character’s curse, or at least indulge us in getting to know its main characters, but neither of those happen in this forced beginning.
– This script has several one-off scenes that add nothing of substance to the remainder. Things like Rhiannon’s Mom randomly coming to her room to have a talk, and then deciding against it, could easily be left on the cutting room floor. They are scenes that are never further elaborated on, and feel more like unnecessary padding to push this 90 minute agenda.
– It’s my opinion that this film is following the wrong person. Rice’s performance is solid, yes, but the whole idea of the film is about A, so why does he/she constantly feel like a shadow in his own movie?
– I can appreciate a film that speaks to the spiritual side of love and not the physical side of it, but that theme is slightly difficult to believe when 95% of the bodies that A inhabits are cute teenagers of the Banana Republic catalogue type. Even when it turns out to be a woman, there’s very little physical interaction in the same way that Rhiannon feels when she gets a strapping young lad.
– Does it freak anyone else out that Rhiannon is having sexual relations with people’s bodies without their consent? Quite a tough sell indeed.