Directed by Paul Feig
Starring – Anna Kendrick, Blake Lively, Henry Golding
The Plot – The story centers around Stephanie (Kendrick), a mommy vlogger who seeks to uncover the truth behind her best friend Emily’s (Lively) sudden disappearance from their small town. Stephanie is joined by Emily’s husband Sean (Golding) in this stylish thriller filled with twists and betrayals, secrets and revelations, love and loyalty, murder and revenge.
Rated R for sexual content and adult language throughout, some graphic nude images, drug use and violence
– The greatest Lifetime Channel Movie EVER. What Feig’s direction does is instill that air of self-aware satire that sizzles on a screenplay this scandalous. In doing so, he can bring his variety of humor to a movie that isn’t necessarily deemed a comedy, accentuating the hilarity associated with mom dates and online blogging that can’t escape the occasional laughter after suffocating awkwardness. Female moviegoers will appreciate its serious side for its twists and turns, but they will also appreciate the familiarity associated with friendships that develop because of their children.
– As an adaptation from the book, the screenplay is roughly 80% similar. This is good because it chooses not to deviate much from what made it such a provocative read in the first place, all the while trimming the fat of what doesn’t translate well to screen. Particularly the choice to make Stephanie’s blog a Vlog in this case, as well as to let the events transpire without narration, are two of the decisions that I commend this film greatly for taking, and allow the events transpiring in real time to hold the audience’s captivation. Then there’s the ending. While the book and film endings are both HEAVILY convoluted, I did enjoy the film’s ending so much more, for how it didn’t betray the heart of the characters. The last fifteen minutes of this movie are completely batshit crazy, and I engaged in it because nothing felt familiar from the pages that I already scanned.
– Flavor for the Favor. Blake Lively, where have you been all this time? As Emily, Lively is a walking temperament of shattered glass that catches the skin of everyone she comes into contact with. In conversing with Emily, you very much feel inferior and downright insulted with her vicious vocabulary, giving forth to a personality that is every bit as intimidating as she is unabashed in her deliveries. Kendrick as well breathes the air of timidness that Stephanie requires in channeling that outgoing “Mom” personality. Say what you want about Kendrick’s quirky demeanor eating away at your ears, but everything that she has done in her career has pointed her towards this role of a woman clearly in over her head, who may or may not be wound a bit too tight.
– Snappy soundtrack. In matching the posh set designs and lavish wardrobe choices, the musical tracks for the film envelope a taste for French elegance that gives the movie a seductive pallet. Every song does maintain this direction faithfully, and certainly speaks wonders for the beauty in voice talents when you can’t understand what the lyrics are truly saying.
– Likewise, the decision to shoot this film in Univisium gives it a vibrancy of color and detail in cinematography that would otherwise be underutilized in this particular film. This is possibly what I admire most of all about Feig’s directing, because even the slightest detail in decoration to a shot feels like it serves an artistic merit when played against the rest of the backdrop. Without question, these are some of the best slow motion sequences of the year, presenting the rain in a music video style fashion that glitters and glows with every drop.
– Makes the most of its R-rating. What I commend the film for is that it does have these instances of violence, brief nudity, and adult language, but it uses them in ways that doesn’t feel forced or manufactured by someone sitting in a chair off-screen. These are very much rational conversations, as well as calculated measures that are taken by the characters, and withheld until the moment when their inclusion matters the most, and less like a gimmick. This is an example of adult material done right.
– Cheap Youtube templates. As to where I commended a movie like ‘Searching’ for paying the extra few bucks and portraying actual Youtube to its very real world setting, I unfortunately cannot do the same for ‘A Simple Favor’. This is another example of an obvious website intention that feels cheap in its knock-off details that are distracting to say the least. When you view this as a streaming website in 2018, the quality in pixelation on screen, as well as the world’s smallest comment section, makes this feel like the first edition of America Online, long before the blessing of Wi-fi euphoria.
– As my readers know, I have no shame when it comes to calling out child actors, and boy did I have a field day with the two in this movie. Whether it’s their speech patterns that feel anything but believable, or their obvious staring off screen for scene guidance, the duo of Ian Ho and Josh Satine were a baseball bat to my precious eyes and ears. Ho in particular is cringey for his hollow delivery in curse word deliveries, as well as an overall lack of energy in fighting style that echoed that student film vibe in college that we’ve all been missing. I’m not overboard when I say that neither of them should act again, and it’s just a constant reminder of the term “Stay in School” holding more weight.
– Pace race. Despite this film being nearly two hours long, the pacing of exposition drops felt very rushed in their plotting, feeling like one big montage scene that never slows down to let it all sink in. I mentioned earlier that the ending is completely convoluted, despite my enjoying it, but it is a calling card for what is truly wrong with the big impact scenes of this screenplay. The developing relationship between Stephanie and Shawn felt like it happened in a matter of days, contrary to the screenplay telling us that Emily has been missing for months, and I wish the movie would’ve taken more advantage to plod in its generous 111 minute runtime that easily could’ve used more patience.
– Book comparisons part 2. As for what I appreciated about the book more, the characters feel far more developed in their dirty secrets. What I love about that is it adds more weight to the mystery of what happened to Emily, giving way to many more theories and scenarios than this film could ever map out for itself. The book also keeps it between the trio of main characters for the entire film, as to where this movie has a group of supporting cast in classroom parents, who add absolutely nothing to this film. Every time a scene cut to them for reaction or commentary, it weighed down the momentum of what was previously built, and stood out as the one instance where the film’s comedy was anything but subversive.