When a bestselling novel like Colleen Hoover’s “It Ends With Us” is adapted for the screen, audiences expect a film that captures the emotional depth and complexity of its source material. Unfortunately, Justin Baldoni’s cinematic rendition falls short, delivering a shallow and meandering examination of domestic abuse that fails to resonate.
The story centers on Lily Blossom Bloom (Blake Lively), a young woman attempting to escape the shadows of her past. Moving to Boston to start anew, she encounters Ryle Kincaid (Justin Baldoni), a charismatic neurosurgeon with whom she forms an immediate connection. Simultaneously, her first love, Atlas Corrigan (Brandon Sklenar), reenters her life, creating a love triangle that could have offered rich emotional exploration. Instead, it serves as a backdrop for a disjointed narrative lacking in depth and authenticity.
One of the film’s most significant shortcomings is its superficial treatment of domestic abuse, a central theme in both the novel and Lily’s journey. The portrayal of abuse is handled with a heavy hand, resorting to clichés and melodrama rather than providing genuine insight into the complexities of such relationships. Scenes depicting tension between Lily and Ryle are abrupt and lack the nuanced build-up necessary to make their impact felt.
Blake Lively delivers a competent performance, but the script offers her little to work with. Lily’s character development feels rushed, leaving the audience with minimal understanding of her motivations. Justin Baldoni’s Ryle transitions from charming to volatile without sufficient groundwork, making his character arc unconvincing. Brandon Sklenar’s Atlas, meant to be the antithesis of Ryle, is underdeveloped, rendering the rekindled romance with Lily unpersuasive.
The film’s pacing further exacerbates these issues. It awkwardly oscillates between lighthearted romance and intense drama, with jarring transitions that disrupt the narrative flow. Flashbacks to Lily’s childhood are inserted haphazardly, failing to provide meaningful context or emotional weight to her present-day struggles.
Visually, the film is inconsistent. Eric Daman’s costume design is particularly distracting, mixing high-fashion pieces with casual attire in a way that feels more perplexing than stylistic. This lack of visual cohesion mirrors the film’s inability to maintain a consistent tone.
The supporting cast offers brief moments of potential. Jenny Slate shines as Allysa, Lily’s best friend, bringing energy and authenticity to her role. A standout scene where Lily confides in Allysa hints at the emotional depth the film could have achieved. However, such moments are too fleeting to leave a lasting impression.
The screenplay does little to elevate the material. Dialogue often feels unnatural and expository, stripping scenes of emotional resonance. Key plot developments are predictable, diminishing any sense of suspense or engagement. The film’s reluctance to deeply engage with its central theme results in a portrayal of domestic abuse that feels shallow and insensitive.
Even the soundtrack fails to enhance the narrative, with popular songs inserted inappropriately, undermining pivotal scenes. The film seems unsure whether it wants to be a serious drama or a conventional romance, ultimately succeeding at neither.
“It Ends With Us” had the potential to be a powerful exploration of love, choice, and the cycle of abuse. Instead, it delivers a disjointed story that skims the surface of its heavy themes without offering meaningful commentary. Fans of the novel will likely be disappointed by this lackluster adaptation, and newcomers may find little to engage with.
In attempting to balance romantic elements with serious social issues, the film falters, offering neither a compelling love story nor a thoughtful examination of domestic abuse. It’s a missed opportunity to bring a nuanced and impactful narrative to the screen.
“It Ends With Us” fails to leave a lasting impression. It doesn’t provide the emotional catharsis one might expect from a story dealing with such profound subject matter. The film ends not with a powerful statement or a call to awareness but with a sense of unfulfilled potential. It’s a cautionary example of how critical it is to handle sensitive topics with the depth and care they deserve.
Available on VOD now.
