Directed By Justin Baldoni
Starring – Haley Lu Richardson, Cole Sprouse, Claire Forlani
The Plot – Stella Grant (Richardson) is every bit a seventeen-year-old. She’s attached to her laptop and loves her best friends. But unlike most teenagers, she spends much of her time living in a hospital as a cystic fibrosis patient. Her life is full of routines, boundaries and self-control – all of which is put to the test when she meets an impossibly charming fellow CF patient named Will Newman (Sprouse). There’s an instant flirtation, though restrictions dictate that they must maintain a safe distance between them. As their connection intensifies, so does the temptation to throw the rules out the window and embrace that attraction. Further complicating matters is Will’s potentially dangerous rebellion against his ongoing medical treatment. Stella gradually inspires Will to live life to the fullest, but can she ultimately save the person she loves when even a single touch is off limits?
Rated PG-13 for thematic elements, adult language and suggestive material
– Familiar premise. An aspect with the romantic genre is that you often have these two people in love who simply can’t be together because of contrasting worlds tearing them apart, and as to where that plot is redundant for this particular genre of film, the necessity of it here makes sense more than ever. Considering these are two people suffering from a very dangerous strain of CF, it forces them to keep their distance so as to avoid possible death, and what this does is not only give the premise reason for its existence, but it also gives it immense weight in the form of the conflict itself. To be together means that these two will sacrifice touch, and it really begs the question if a relationship can survive without such intimacy.
– Responsible approach with its subject matter. Aside from this being a mostly entertaining film in whole, the task of educating its audience on the specifics of Cystic Fibrosis is taken with enough tender care in explanation that makes it so much more than just another movie. The director and actors spent ample time with a Cystic Fibrosis foundation in order to capitalize on accuracy, as well as the hopelessness of the care given to the medical staff themselves. What’s vital here is that nothing is glossed over or fancied up for the screen itself. The depictions in the film can look and sound grueling and dejecting for its audience, but without those valuable depictions, the film would be doing an extreme disservice to the impact of living with a disease that cuts literally everything short.
– Method of exposition insertion. Stella’s character has her own Youtube channel, and aside from this aspect of the film inevitably feeling someday dated, the aspect of it allows the film to tell some pivotal moments in her life that the screenplay might otherwise have difficulty conquering. Through her daily VLOG’s, Stella explains what impact the disease has on her, some of her favorite tastes in her otherwise limited world, and the importance of a missing family member that has weighed heavily on her development. This gimmick hasn’t worked in other films because of how much it’s often trying to convey in such a small window, but the details here feel natural and synthetic to the kind of videos and conversations that are prominent on video sharing websites in modern times, and allows us the audience to pick up on things at the exact same time that our co-protagonist Will is.
– Cute, charming lead cast. This is definitely a leading cast kind of film, as the supporting characters are kind of reduced to keep them front-and-center, but it allows the chemistry of Richardson and Sprouse to shine because of the care given to the progression of their relationship. The movie takes ample time in preserving them as friends first before dropping the romantic star-crossed lovers angle that was promised, and I appreciated this because it does sort of depict how love is a progress that sometimes doesn’t fit right away. As for performances, Richardson is given her first meaty dramatic role and thrives with ample colors. Stella has no shortage of running tears or vibrancy in personality, and for Haley’s first dramatic lead it really opens your eyes to how the young actress can captivate audiences with an arrangement of emotions that are brought out and returned like Mister Rogers suit jackets. Sprouse also has plenty to be grateful for, mostly in the form of precise comedic timing and a conflicted character who feels like the responsible shoulder that the story so desperately requires. Sprouse’s Will walks that fine line of responsibility on the eve of his 18th birthday no less, and his honest outlook on life gave his character many miles for his age, and actually turned out to be my favorite character in the film.
– Intimacy in camera work. While I wasn’t blown away with the complete presentation of the movie’s cinematography and movements behind the lens, I can say that the variety in handheld and still-frame pageantry shows great responsibility from Baldoni’s nurturing hands. The framing here is exceptional, bringing with it a necessity to focus on the facial registry of the actors respectively, and giving us the audience and immersive quality to what is transpiring. This allows the film to frame its two leads close in ways that the disease inside of the story keeps them conflicted, conjuring up a feeling of satisfying fantasy in ways that we know will rarely ever pay off in real time.
– Elements of the novel coming to life. Like most successful films in 2019, this film is based off of a book with its own artistic vibes that the movie felt necessary to bring along. Featured in the movie are drawings that were prominent in the first run editions of the novel itself, and these portraits can be seen and mentioned not only in the artistic capabilities of Will’s ever-trusting notebook, but also in Stella’s hospital room home away from home. Each of these hold strong merit to their inclusion to the film, and adds a wink-and-nod element to longtime fans of the novel, who are otherwise tired of the originality of such stories being forgotten for movies that take more than a few liberties. That isn’t such the case here, as “Five Feet Apart” proves that a book and movie can live together in near perfect harmony, without one infringing on the benefits of the other.
– One stage setting. I’m a sucker for movies that exist in one continuous place, so much so that I commend the movie for illustrating the claustrophobia for these kids being forced to live without much escape, as well as its ability to stay mostly entertaining considering its landscapes stay almost entirely grounded. It helps that the film stays faithful to the two leads instead of depicting the reactions of parents or supporting family. This not only allows the film to set up this world inside of a world, but it remains a testament to the movie’s confidence for how it’s able to constantly maintain my interest considering visually it is going nowhere. You don’t see one stage setting films often anymore, but “Five Feet Apart” proves that this angle can succeed if the story is gripping enough, and the characters are easily engaging.
– Prolonged dramatic tension. Right around the beginning of the third act, the wear of redundancy in the screenplay feels evident, and it forces the story to take some forceful directions in logic to grip the audience in their seats and push forward towards the two hour run time that Baldoni so desperately wants. For one, most of the typical third act distancing that we’ve become saddled with in movies feels particularly unnecessary here, and could easily be resolved with much-needed communication. One such occasion with Will distancing himself from Stella comes out of nowhere, and had me scratching my head because of things about his disease that we must believe he is learning for the first time in his life. In addition, the third act scene away from the hospital is not only ridiculous for how many red herrings it forces against us the audience that takes away from the dramatic elements of the scene, but Stella herself goes against established directions in her character with a decision that could easily help her. Instead, a simple decision leads to irresponsibility on one character that costs two, and only brings forth a visible line of desperation that this story couldn’t escape from.
– This might be the worst hospital ever. In addition to having no security cameras of any kind to keep an eye on its patients who just might interact with one another, there are nurses who ignore monitors going off and dismissing it as nothing more than a patient sitting on a button. I get that the reason this angle happened is because this very thing does happen earlier on in the film, but there isn’t a nurse on this planet who asks questions first and takes action later, and it just made me question how many lawsuits this place may have fought through along the way. In fact, the one nurse explains that a couple already died on her watch for them interacting behind staff’s back. Maybe that incident might lead to some tougher safety precautions, but no, we need it for the plot device, darling.
– Unnecessary opening monologue. Once again, we are treated to narration by an actor that is every bit pointless as it is spoiling to what it gives away. When you think about it, you know this character will probably live considering they are talking in the past tense. Not only this, but it doesn’t add to any particular scene or established plot because it is stating the obvious to anyone who has already seen the trailer. This is one of those major flaws that I hate in films, and it only further convolutes the relationship that a movie this cerebral establishes with the audience it conveys to. If it is indeed purposeful, take it out of the movie and see what it changes.
My Grade: 7/10 or B-