filmfauxpas

Hey, I’m Sarah—your go-to for all things film! On filmfauxpas, I dive into reviews of films, books, and share my take on the latest in pop culture.

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All Quiet on the Western Front

Reflecting on the 2022 Adaptation

All Quiet on the Western Front is one of my favorite books read in school. Being one of the first science fiction novels I read, it allowed me to understand a uniqe perspective, one that uncovered the bleak reality and popaganda of war. That being said, I was excited to watch the 2022 Edward Berger's adaptation of All Quiet on the Western Front, which to put it simply, is great. Having read and thoroughly enjoyed Remarque's novel, I was intrigued to see how its deeply personal and introspective narrative would translate to the screen, especially given how much the book relies on the emotional complexity of Paul’s inner thoughts and perspective. I went into this film without having seen the original 1930 adaptation, and with all that in mind, I was pleasantly surprised by how this version remained (for the most part) faithful to the source material, while further amplifying its powerful commentary on the senseless horrors of war.

Cinematography and Score

Visually, All Quiet on the Western Front is both compelling and dynamic, without overworking itself to create "meaningful" shots. To be more specific, the blandness of the trenches and battle fields paired with lively landscape and vibrant red/ blue bombs, that appeared between fight scenes, created just the right amount of juxtaposition. Along with the cinematography, the score was equally haunting and beautiful, with the eerie synths and pounding drums of the main theme capturing the desolation of war. Meanwhile, the softer ballads helped to heighten the film’s grim tone without ever romanticizing the events depicted on screen. While the choice to incorporate synthesizers into the score may be somewhat controversial, I believe it’s one of the best additions to the film. As said before, it emphasizes the emotional weight of the situation at hand while making it more palpable for contemporary audiences.

Writing

The writing also stood out as a highlight, crafting a narrative that felt both intimate and harrowing. Additionally, every actor delivered a good performance, bringing their characters to life with raw emotion and nuance. Their portrayals made the tragedy of the story all the more devastating.

That being said, I do have a couple "issues" with some of the creative liberties taken by the creators. My biggest being the change in how Kat dies. In the novel, his death felt more fitting and in line with the harsh, random conditions the characters were enduring. While I understand the writers’ choice to introduce the farmer’s son as a means to highlight the unending cycle of violence and its inherent senselessness, I still prefer the original version in the book. Kat’s death there felt more poignant and thematically resonant for me. Similarly, I had a slight issue with the slight change to Paul’s death at the end. The novel’s conclusion carried a quiet, understated tragedy that I think worked better than the more dramatized approach taken in the film. Despite these minor disagreements, I found this adaptation to be an excellent and a faithful interpretation of Remarque’s work.

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Poetry Collection Analysis & Review: Blood Dazzler by Patricia Smith

On August 25th, 2005, the tropical storm named “Katrina” was upgraded to a hurricane. Three days later, it would become a category five storm and go on to destroy the city of New Orleans, resulting in over 1,800 deaths. Poet Patricia Smith, takes this tragedy head-on in her collection, Blood Dazzler, which came only three years after the natural disaster. Blood Dazzler uniquely focuses on the events of Hurricane Katrina by personifying the storm and telling the story primarily from "her" point of view. From the prologue “And Then She Owns You” to the ending poem “Voodoo VIII: Spiritual Cleansing & Blessing,” Smith provides an emotional, devastating, grim, and impactful collection that forces readers to see Katrina’s impact, both good and bad.

At the time of Blood Dazzler's publication, the aftermath of Hurricane Katrina was still being felt in the United States, with many, if not the majority, still struggling to recover. Although there were three years between the release of Blood Dazzler and Hurricane Katrina, the United States would still be investigating how it responded to victims and the storm itself. Specifically looking into President Bush and the Federal Emergency Management Agency’s (FEMA) lack of response to the threat that Hurricane Katrina posed. Due to their negligence, many citizens in New Orleans disregarded Katrina as just another tropical storm. This dereliction of duty is highlighted by Smith throughout the collection. To further immerse readers in the tragedy, along with Katrina’s narrative, Smith provides stories of citizens who lived through and experienced the storm's wrath firsthand. Often told from a first-person perspective, the book switches from Katrina’s point of view to the victims and members of FEMA. This choice is effective as it provides the reader with every side of the story, all just as emotionally gripping and tragic as the last.

In the very first poem of Blood Dazzler, “5 p.m. Tuesday, August 23, 2005,” readers are provided with a line that easily summarizes the character of Katrina: “every woman begins as weather”. With just these five words, the reader is able to understand Katrina’s thirst and desire, along with gaining an understanding of her narrative. Despite Katrina not being an actual human, she is the center focus and “character” of the collection. When observing the character of Katrina more closely, readers see that she is a ruthless, restless, and self-righteous "force.” Katrina states unequivocally what she wants and that nothing will stand in her way. The first four poems in the collection focus on the days leading up to Katrina's escalation into a Category 5 hurricane. These poems are crucial to her character development and the collection as a whole, as they establish her "hunger," as Smith often describes it. In "5 p.m. Tuesday, August 23, 2005," the narrative begins in third-person, describing Katrina's transformation from “a muted threat of gray light” into “a mouth.” Following this opening, the perspective shifts to the first person with the line, “I became a mouth, thrashing hair, an overdone eye,” signifying Katrina's takeover of the narrative. She is here to tell her own story, inviting readers along for the journey.

Blood Dazzler emphasizes the emotions of those within the storm by providing personal accounts from citizens. We get our first glimpse into the life and logic of the local M'dear in the poems "Won't Be A Minute" and "Inconvenient." She appears unfazed and, quite frankly, bothered by the fuss the hurricane is causing around her, like many were at the time. Moreover, through M’dear’s southern dialect, readers are reminded more than ever of where and who Katrina is up against: the locals. Determined to protect what is theirs, the locals of New Orleans refused to leave, and although they would suffer, they never thought they could lose.

As the collection progresses, we further understand Katrina’s relationship to others, including the citizens of New Orleans, America, and most interestingly, other hurricanes. The poem “Siblings” lists major hurricanes that have occurred in the United States. Each letter is given a name, apart from "K,” which is given its own stanza. Smith’s choice to give intel regarding Katrina’s character towards the end of the collection reminds the reader that Katrina is human, in a way. That she, too, experiences neglect and acts out because of it. It is apparent that her rage overpowers her, and even though Katrina claims she is “in control,” that is not the case. One can imply that, given her torment from others—her siblings, men, politicians—she is tired of being taken advantage of, for lack of a better phrase. Katrina is angry, yes, but she also wants others to see and recognize her. Whether it is her siblings, men, or other women, Smith makes the effort to explain Katrina’s thoughts after all is said and done, after she is "finished.”

 In the second-to-last poem of the collection, "Katrina,” it reads: “All I ever wanted to be was a wet, gorgeous mistake, a reason to crave shelter.” After that point, we are never to hear from Katrina again, and for me especially, these last lines felt quite unsatisfying. After all the destruction, pain, and overconfidence, we receive a version of Katrina that is just as pathetic and yearning as she was when she started. While it isn't unlike someone to regret their destruction, the idea that “every woman begins as weather” becomes “I was a rudderless woman in a full tantrum” feels somewhat unnerving. I’m not sure if I enjoy the end of Katrina’s narrative ending with this regret or sloppy justification of her actions. Despite this disappointment, Smith accurately depicts the response of someone who has done such harm. Especially since Katrina is the younger sibling who has always been overlooked and blamed. There is an inherent guilt that affects those who are used to this slight cycle of abuse. It is also worth mentioning that Smith’s decision to rarely have Katrina’s poems follow a traditional poetic structure is telling of the nature of her character. Katrina’s poems are often freeverse, sporadic, and tight, which represents the way she is not only a character but also a storm.

Blood Dazzler is unique in how it decides to portray the destruction and horror that Hurricane Katrina caused to the citizens of New Orleans, a place of faith and love. By using poetry. Smith explores the ways in which Katrina stripped the people of their homes but was never able to destroy their love for it, no matter how belittled they became. Even so, when one comes to the end of the collection, they are left just as distraught and even angry as they were when they picked up the book. Perhaps that was Smith's intention all along: to provide a fresh perspective on Hurricane Katrina, both the storm and the victims, while raising empathy and awareness for how we failed to help those in need in 2005. Blood Dazzler will always stand as a collection we should revisit to be reminded of Hurricane Katrina and to continue to remember those lost.

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One Direction: This is Us—Our Unhealthy Obsession with Celebrities

Eleven years ago, One Direction was at the height of their careers. The British boy band had just wrapped their third world tour and was preparing for their fourth, with 69 shows on the agenda. Now comfortable with each other, they released their third studio album, Midnight Memories. No longer teenagers, the members of One Direction wanted to show their maturity, promising an "edgier" and "rockier" sound, according to Louis Tomlinson. They swapped out the boy-next-door sonnets for more sexually charged lyrics, replaced acoustic guitars with electric ones, and delivered more upbeat hits than their previous albums. Just three months earlier, on August 30, 2013, the film One Direction: This Is Us premiered worldwide, giving fans an inside look at their lives on tour and the effects of fame.

This Is Us was filmed over four months, starting in January 2013 in Tokyo and finishing in London in April. During filming, the band members were between the ages of 20 and 22. While the film showcased the fun and excitement of their careers, it also gave the boys a chance to explain the hardships of their success and how it affected them. Grateful for their careers, members still expressed the challenges of adjusting to sudden global fame, like losing the ability to go out without protection and being away from their families. Whether intentional or not, the film also revealed just how overworked they were, detailing their demanding schedules filled with concerts, interviews, and recording sessions. A particularly telling moment shows a producer waking Zayn up on their tour bus to record, with a tired and young Zayn asking, "How long was I out?" to which the producer responds, "10 minutes."

While the life of any successful musician has its faults, it's important to ask: how much is too much? Watching the film again as a 23-year-old, I was struck by how young they were at the time. At 12, I thought being 22 was old, but seeing them now through a different lens was quite upsetting. Paul Higgins, One Direction’s bodyguard, described the boys situation well, stating “If you can imagine yourself being taken away at the age of 16 or 17 and then thrown into the spotlight... people are constantly around them, and to hold their form and cool, and to enjoy it and perform, it’s a big ask." Harry Styles chimed in adding, "There are definitely times where you’re not enjoying it the whole time. But then you have to step back for a second and try to weigh the pros and cons." While this reflection seems healthy, it also highlights the guilt that comes with success. It was hard watching the young men tiptoe around how they really felt, as everytime they expressed a hardship, they’d follow it up with how “lucky” they were to be in their position. However, I don’t find this lucky by any means—I find it quite the opposite. It is disheartening how a child's innocence is taken advantage of by others who see them as a dollar sign.

In light of One Direction member Liam Payne’s untimely death, fans are searching for the root cause of his addiction, which led to his passing. While no one can place the responsibility for someone’s life on external factors alone, Payne’s death prompts reflection on how unhealthy the constant public scrutiny of celebrities can be, and how fans can play a part in this toxicity as well. Starting on The X Factor, the boys were no strangers to the public eye, but they never expected to reach such stardom so quickly. Simon Cowell, a judge on the show and the band’s creator, noted how “strange” it was that people became obsessed with the five boys after just one performance. This obsession only grew, especially on social media platforms like Twitter and Tumblr, where fans dedicated entire blogs to discussing the band’s music, whereabouts, and their feelings about the members. As One Direction released songs about love and vulnerability, fans felt a personal connection to them, leading to a parasocial phenomenon among “Directioners.”

For instance, it became popular to write fanfiction about the members, creating imaginary romantic scenarios—sometimes between a fan and a band member, or even between the members themselves. While most fans acted out of love, these behaviors were harmful, often oversexualizing the young men and invading their privacy. As a result, One Direction was constantly surveilled and couldn't go out without security. Payne spoke openly about how this lack of freedom affected him, saying in an interview, “In the band… the best way to secure us, because of how big we’d got, was to lock us in our rooms. What’s in the room? A mini-bar. So at a certain point I thought, I’m just going to have a party-for-one, and that carried on for many years of my life.” He also spoke about the loneliness and lack of control he felt during and after this time, commenting, “There are times where that level of loneliness and people getting to you every day... you’re like, when will this end?”

X Factor winner Rebbeca Ferguson when asked about Payne's death said “[he] was a victim of an industry’s “exploitation and profiteering of young stars.” Claiming that it was a factor in his death. Although this narrative isn’t new—many child stars have struggled with substance abuse following early stardom—it raises an important question: how can we, as fans, make a conscious effort to respect celebrities' boundaries and view them as individuals rather than idols? Luckily, in just the last year the stigma of complying with “superfan” behavior has been challenged by artists who have spoken out against it like Chappell Roan, Tyler the Creator, Billie Eilish, and Hayley Willimas. Hopefully, as more voices join this conversation, we can see a shift toward a healthier, more respectful fan-celebrity relationships.

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Twilight and Its Ever-Changing Directors—Why Catherine Hardwicke’s is The Best. 

Twilight is one of my top three favorite films and was my introduction to fan culture. My stepmom was an avid fan, taking my sister and me to the midnight premieres, playing the original soundtrack on the way to school, and reading each book as they were released. Every fall, I enjoy revisiting my favorite characters as part of my Halloween tradition. While my love for the series is unmatched, there are things I wish were different. Like many fans, my biggest gripe with the franchise is the constant change in style, which primarily comes down to the director changes between films. There is no doubt that Catherine Hardwicke’s Twilight was the best. Her 2008 adaptation was the most well-received among all the films by critics, as it ranked highest according to Rotten Tomatoes.

Hardwicke’s understanding of teenagers demonstrated in films like Thirteen and Lords of Dogtown, made her the perfect choice for Twilight. Summit, the producer of Twilight, approached her after recognizing her knack for exploring the complexity of teenage emotions.  Hardwicke agreed to direct and, despite a modest $4 million budget, she created the beloved film starring Robert Pattinson and Kristen Stewart. Blue, dreamy, moody, and romantic, the first Twilight aesthetic became iconic, thanks to Hardwicke’s indie film sensibility. Unlike other adaptations of the time, Twilight felt more intimate—its hushed dialogue, early 2000s fashion, and on-location filming only added to its charm. Following its release, Twilight grossed $393 million worldwide. Following its success, Summit wanted a sequel as soon as possible, giving Hardwicke less than a year to create and direct New Moon. Hardwicke argued against execs, which ultimately ended in Summit abandoning her to find someone who would meet their demands. 

In 2009, New Moon was directed by Chris Weitz, and the remaining three films were also helmed by male directors. Although the sequels enjoyed box office success, critically, they fell short compared to Hardwicke’s original vision. Hardwicke expressed her opinion on this choice of directors, saying: “[it was] a heartbreak for me. There are other badass women out there that could have done those.” The absence of a woman's perspective is evident in the remaining films.

Weitz was still finishing New Moon when Eclipse began filming, leading David Slade to take over as director. Previous to Eclipse, Slade solely directed gritty and disturbing films like Hard Candy and 30 Days of Night. Summit chose Slade because of this, hoping he would create a “complex, visually arresting world,” as they described it in their 2009 official press release. While Slade brought a darker tone to Eclipse, the film suffered in its portrayal of Bella, who seemed more passive and confused, caught between Jacob and Edward. This shift in focus, from the internal struggles of the characters to more surface-level action sequences, is where the magic of the first film began to dissipate.

In Hardwicke’s Twilight, Bella’s perspective of Forks is misty and lulling, reflecting her remembrance of the town from when she was a child. There's a certain awe to Forks, the Cullen family, and budding romance between Edward and Bella. Even amid conflict, there was a lingering sense of wonder. As the films progressed, however, that distinct storytelling faded. The blues become auburn and shift to gray, much like the narrative. Some might argue this reflects the maturing of the theme, but I believe it reflects the later directors’ lack of connection to the source material. Hardwicke and screenwriter Melissa Rosenberg fought to give Bella more agency and have her be a “little less passive than she was in the book,” as Hardwicke described. Rather than focusing on the internal and emotional conflict the main characters face, later directors indulge more in the action of the books.

Despite the disappointing predecessors to the first film, Hardwicke remains positive about her work on the Twilight set. “As a director, you work so hard; you pour your heart into so many projects; some of them get made, some of them never get made,” Hardwicke explained. “This one got made, and people loved it and appreciated every little detail. I mean, people are wearing the shoes that Bella wore and asking how you chose this and that, and they really care about the love and attention that filmmakers put into it.” Even though she wasn’t able to continue directing the series, her impact on the franchise is enduring and continues to be admired by fans.

In the end, while the saga might have evolved in ways that didn’t always meet my expectations, Twilight will always hold a special place for me. And every fall, I return to Forks, finding comfort in the nostalgia and magic of that first film.

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Twilight, New Moon (2009)

dir Chris Weitz

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The Nicholas Sparks Formula—Why We Love his Depressing Romances

Last year I decided to watch all Nicholas Sparks' films. As a born and raised North Carolinian, Sparks is a household name. It's rare not to meet a middle-aged woman in the South that has yet to hear of him or has a large collection of his books or DVDs displayed in their home. 

“Did you know all his novels are set in North Carolina?” My sister told me when I explained my ambitious plan of watching all ten of his films. “His books are so good, yet so sad.” She explained as she handed me the newest of his novels, The Wish. At that time, I had only seen The Notebook, a film about two star-crossed lovers recounting their love story on their deathbeds. I remember specifically the scene in which the lead dies and her lover cries as the credits roll. Despite how depressing this film seemed, I wanted to understand why everyone loves Sparks' stories. 

I decided to watch each film in succession to when they were released, starting with A Walk to Remember. Starring Mandy Moore as the lead, the film was set in Beaufort, NC, a town I had grown up visiting. It's a romace between the school bad boy and the Reverend's daughter that takes many turns. They fall in love despite their differences and complete Jamie, the main character's bucket list. Later in the film, she dies from incurable cancer. A Walk to Remember perfectly encapsulates the formula of each Nicholas Sparks film. The bad boy type who is secretly hurting falls for the quiet and mysterious girl in town. Both of which are beautiful without knowing it and move throughout their lives until they catch the eye of one another—and from there, romance, chaos, and death ensue. 

Audiences can count on there being a storyline that includes a dead partner, parent, someone who is terminally ill, or on their deathbed—all of which serve as a way for characters to come closer. The pairs find solace in their sad lives and try to mend the broken pieces of the other over the course of the film, typically with companionship. While this may sound sweet, it creates a story that is utterly miserable. Sparks rarely brings anything deeper to the storyline apart from the main romance. Yes, he discusses themes of abuse, class, and religion, but only to an extent. Rarely does he explore these ideas in a constructive way because he is too busy thinking of ways for the main characters to suffer. 

A prime example that comes to mind is Sparks', Dear John. A romance between a couple that just can't seem to make it work because of the obstacles within their lives. The main character, John, falls in love with Savannah, but soon after he is deployed to war overseas in response to the 9/11 terrorist attacks. His stay across seas is extended so much so that Savannah writes him a Dear John Letter. Once he returns home, his disabled father dies and John is the only one to attend the funeral. Meanwhile, Savannah has remarried, but soon her husband dies of cancer, leaving his son in her custody. The film ends with John and Savannah meeting at a coffee shop, where we assume they will come together once again. 

It was after watching this film that I realized that Sparks does not mean well. That he writes to make his readers feel in the cheapest ways possible. He makes his audience come to love a character, only for him to kill them in a terrible way. Sparks time and time again destrys the world around the characters so that they are forced to come together for "love." I wondered who these films were for and why they were so popular. Of course, people love a tearjerker, but when it is the same character and setting over and over again, you’d think people would get tired.

However, there is some psychological reason why audiences love these sad works of fiction. Professor and author Marcia Eaton wrote about this phenomenon in her work “A Strange Kind of Sadness.” She believes these tragic works of art allow audiences an escape to feel pain temporarily without real harm, which is addictive. Similar to the thrill one gets from riding a rollarcoaster. Eaton also points out that “part of what we admire in works of art is the skill of the creator” and that audiences “enjoy being manipulated when it is [their] own intention to be so treated.” Again, having that control to stop the film and close the book is what allows us to come back. After all, Sparks has created an empire that will only continue to grow, seeing that his most recent novel, Counting Miracles, was released just this September. As of October 1st 2024, it was listed number one on USA TODAY’s Best-Selling Booklist.

While I argue that this formula is overplayed and depressing, his stories are addicitve. There is a comforting aspect to his world: the dreamy southern landscapes, beach houses, surface level characters, and the plights they have. In the end, when another one of Sparks’ films is released I’ll be watching.

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a walk to remember dir. adam shankman

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Scream VI Review

After watching Scream VI, all I have to say is that they really need to stop making these films. Not only has the Scream franchise run its course, but I fear it’s going to continue to decline in quality as they create more. In my personal opinion, they should have stopped after the fourth, Wes Craven, the original creator of Scream, last film before his passing. However, for whatever reason producers decided Ghostface would wreak havoc once more on the population—and that he would. 

Scream VI, desperately holds on to its original remaining characters and plot and refuses to “let go." Essentially in this film we follow the Carpenter sisters, as they navigate the same issues Sidney Prescott had in the second film and her niece had in the fourth. Like Sidney and her Niece, everyone believes they are the reason for Ghostface's killings, and in turn are unable to live a normal life without judgement. Because the Carpenter sisters were the last to had battled it out with Ghostface, each reloacte to find peace. However, when Ghostface returns in NYC, they are forced back in the limelight. Since audiences have seen his in Scream 2 and Four, it felt as if I was just watching a worse version of both films. 

The main characters of Scream VI lacked depth and were just uninteresting. Each person within the film ticked a box to fufill various horror film troupes--the athlete, brains, gay, airhead, etc. Again, because this is the sixth time audeinces are seeing this exact plot play out, there was no thrill to this irony. I suppose the film being set in New York City was somewhat exciting, but ultimately turned out to be disappointing since they didn’t really do much with it, apart from the Subway scene.

The writing was absurd and so paradoxical, not in the usual clever Scream style. I was genuinely annoyed with the monologues about the “rules of horror movies” and how little each character lacked trust in one another. We get it, “the love interest and new guy are always the ones to keep your eye on! Trust no one, not even yourself!” 

Of course, the reveal of the Ghostfaces is always the best part, but I didn’t really care for this one at all. As I said, Scream VI feels like a regurgitated mess of its predecessors. To put it simply, Scream VI takes itself too seriously and because of this, loses all its charm. It’s time to turn in the mask and say goodnight and goodbye to Ghostface for good.

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Lisa Frankenstein (2024)

dir Zelda Williams

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The Idea of You (2024) Review

I originally watched The Idea of You in a room full of former “One Directioners,” myself included. Having all been obsessed with one or more of the 1D members, we braced ourselves for Nick Galitzine’s portrayal of the beloved British pop ideal. What graced our screen was a caricature of Harry Styles: Hayes Campbell. Dressed in a white sleeveless tee, revealing his scattered sleeve of tattoos, and ripped skinny jeans, he made his way through his trailer after encountering Solene, his love interest who is 16 years his senior, portrayed by Anne Hatheway. The two meet under improbable circumstances when Solene stumbles into his trailer at Coachella, mistaking it for a public restroom. Despite this unrealistic meet-cute, they share playful banter and part ways, only to reconnect at a meet-and-greet for Hayes' band, August Moon. Solene, accompanied by her daughter, makes her way through a line of frenzied teenage fans, where bandmates make jokes about how attractive she is and Hayes is once again, enhanced by her. During the band’s performance, we see Solene and her daughter in the crowd and Hayes makes a last-minute set change to sing a new song that he dedicates to Solene. As their romance unfolds, they quickly become infatuated with each other, traveling the world, having sex in fancy hotels, and going out until the gripping reality of their relationship becomes clear and the two face the reality of Hayes’ high-profile lifestyle. This puts Solene and her daughter in the public eye, ultimately leading to their breakup. Overall, the film isn't bad. Both Anne Hathaway and Nicholas Galitzine deliver strong performances and make their characters compelling. The plot is engaging with high stakes, and because the characters are so likable, the audience roots for them. However, it is hard to move past just how uncanny the character of Hayes Campbell is. 

The author of The Idea of You, Robinne Lee, admitted around the book's release that Harry Styles served as inspiration for the character of Hayes. Stating that “I was up late surfing music videos on YouTube" and "came across the face of a boy I’d never seen in a band I’d never paid attention to. … It was like…art.” Lee also shared after learning of Styles' relationships with older women that “the seed was planted” for the novel. However, as the book gained more popularity during the Pandemic, readers were quick to draw similarities between Harry Styles and Hayes, ultimately dubbing it a “Harry Styles fanfiction.” Lee responded to this by later stating she “regretted” sharing Styles as the inspiration and that “Harry was one of multiple people who went into creating Hayes Campbell.” Lee highlighted she wanted her novel to be seen as a story of a “woman reclaiming her sexuality and rediscovering herself.” While this theme is effectively conveyed, especially through Solene’s confident handling of divorce and new romance, it’s hard to ignore, at least in the film, how similar Hayes and Harry truly are. This similarity made it difficult to fully engage with the film, as it felt strange to watch a fictionalized version of a real person. For instance, the Coachella scene was the most jarring, with the band members mirroring real-life One Direction members in both voice and movement. The set design even echoes One Direction’s “On the Road Again” tour, with similar hand-drawn lightning bolts and arrows. It was during this scene that the room fell silence as each of us stared at the screen noting how strange this film actually was. Other details, like Hayes wearing a hat marked “Simple” — a nod to Harry Styles’ Pleasing brand — added to the sense of being in a world that felt too familiar. While these references may resonate with fans of Styles and One Direction, they can detract from the film’s storytelling.

All in all, the film's attempt to blend homage with original storytelling is notable, however, it sometimes struggles to balance these elements seamlessly. For fans of Harry Styles and One Direction, the film may offer a unique, if somewhat disconcerting, viewing experience. For others, it stands as a well-crafted romance with engaging performances and a moving narrative.