Directed by Greg Berlanti
Starring – Nick Robinson, Josh Duhamel, Jennifer Garner
The Plot – A young coming-of-age teenage boy, Simon Spier (Robinson), goes through a different kind of Romeo and Juliet story. Simon has a love connection with a boy, Blue, by email, but the only problem is that Simon has no idea who he’s talking to. Simon must discover who that boy is–who Blue is. Along the way, he tried to find himself as well.
Rated PG-13 for thematic elements, sexual references, adult language and teen partying
– This really feels like the first original look at the teenage side of gay sexuality, and in doing so, much of the material refreshingly depicts the silly and drastically misunderstood perspective that many straight people still harvest in not understanding the similarities between the gay and straight lifestyles. This film’s message is to showcase that nothing changes with people that come out, they are just more enlightened to go after what they want and deserve, and this stance gives the film an entertaining, as well as educational look at things.
– I’ve heard much comparison to John Hughes teenage films of the 80’s, but I only see that in terms of the time-traveling musical score by composer Rob Simonsen. For my money, I hear a lot of ‘Planes, Trains and Automobiles’ in his synthesizing tones, and it presents a classy outline to the film’s narrative moments that most teenage films are strongly lacking.
– The performances fire on every cylinder. Robinson as the title character really comes into his own, playing Simon as this boy on the cusp on manhood who is dealing with that unshakeable voice in his head that sounds like it is getting louder. In addition to Robinson, Garner and Duhamel should also be cherished as two parents who really feel honest in their reactions to the news that could shake their family if they allow it to.
– You hear often in reviews how a particular film will take you on a roller-coaster of emotional response, but ‘Love, Simon’ is legit in this stance because it is always trying to surprise the reader in the mature stances it takes. Because of the awkwardness, I was constantly laughing. Because of the smothering in Simon’s own personal life, I felt great empathy and sadness for him. And in the immaturity of some characters, I felt great anger in their inability to just let people be happy for themselves.
– Beneath the surface, there’s a strong and compelling mystery at play for Simon’s mystery e-mailer, and I found the finishing result to be very satisfying in its big reveal. Along the way, there’s plenty of varying faces to feed into Simon’s possibilities for who it can be, but the answer I feel is one that will surprise more than not.
– There’s a lot of personality to the style and sequencing of the film. Berlanti as a visual storyteller combines the use of technology in garnering the feedback of this small town, but he knows this isn’t enough. The inclusion of Simon’s narration is one that Berlanti uses accordingly in getting us close to the protagonist in ways that a post online simply won’t, and I greatly appreciated the combination of both here.
– Beyond this being just about Simon, this script takes enough time to get to know the valuable pieces of family and friends in Simon’s life so to better understand the price tag in risk that perplexes him to keep quiet. His interactions with them feel every bit as genuine as they do vital to the mounting pressure that surrounds him.
– This is not just an entertaining film, it’s one that I feel is immensely important to many youths discovering and finding themselves on-screen. Far too often, this voice goes silent in big screen releases, and it’s a feel good sentiment that because of a film as special as this one, more studios will feel comfortable in expanding their approach to stories that would otherwise never receive the time.
– There’s one character who plays a bully of sorts that I needed a re-write or just edited out of the film completely. This character blackmails Simon into keeping his secret, but the problem is that the film takes valued screen time to get to know and feel for his own situation with a girl, making his villainous stance feel illegitimate. I think you could’ve incorporated much of his material into the two other jocks in the school to make it feel more synthetic.
– Some of the dialogue does suffer from that quip in deciding to be entertaining first and authentic second. There were many times in the film where I felt thankful for the depth of A-list actors like Duhamel and Garner being enough to override some of this obvious banter that no parent in this predicament would ever sound like.