As someone who has seen their fair share of romantic dramas, I must confess that the meet-cute between Tobias and Almut in “We Live in Time” was nothing short of extraordinary. However, much like the character of Tobias himself, the movie left me yearning for a bit more substance.
In the annals of romantic drama films, not many meet-cutes have been as impactful as the one in “We Live in Time.” Tobias (Andrew Garfield), in a gloomy state due to impending divorce papers, was the unfortunate victim of Almut’s (Florence Pugh) car accident one night. The following morning, he found himself in a hospital with a neck brace and Almut sitting before him, apologizing for the accident and treating him to lunch later. Little did they know, this unexpected encounter marked the beginning of numerous dates between them.
In an unconventional narrative structure, filmmaker John Crowley and scriptwriter Nick Payne portray the tumultuous love story between two characters. One moment, we see them debating their ability to have children, while another scene reveals Tobias and Almut, who now have a daughter named Ella (Grace Delaney), confronting Almut’s recurring ovarian cancer. Love might not always be smooth sailing for this pair, but their tale demonstrates that it can persevere as well. Through the ups and downs of their relationship, their bond remains unbroken across various stages of their connection, proving that love persists even in the most challenging circumstances.
The film “We Live in Time” is a heartwarming tear-jerker, yet it maintains an odd sense of detachment. The portrayal of the characters by Payne seems to hinder our emotional connection with them. This might be due to the implied financial stability of Tobias and Almut. Despite their numerous personal struggles, they reside in vast countryside estates or roomy urban apartments. A significant concern lies in the characterization of Tobias. Unlike the typical romantic movie protagonist who is endearingly flawed and schlubby, Tobias embodies the antithesis of this trope. If a genie granted you a wish to alter these characters, the Tobias from “We Live in Time” would materialize in your living room.
Tobias, the character portrayed by Dominic Cooper, embodies the ideal man many Tumblr users around 2013 would have sought. He stands tall, is British, has melancholic puppy-dog eyes, boasts no physical or emotional shortcomings, and speaks with unfailing kindness in a gentle tone. If you recognize the term “Superwholock” without needing to look it up, then you’re familiar with this character type. For some spectators, Tobias will be the perfect on-screen find; for me, I found it challenging to connect with him. He’s not merely an ideal man; he’s a man as real as a dream. Over the course of nearly two hours, this character remains underdeveloped despite Garfield’s impressive performance. The qualities that make Tobias relatable also make him dramatically lifeless.
The main issue with the movie “We Live in Time” is its heavy reliance on viewers being deeply engaged with every action taken by the characters, yet it fails to provide any real conflict or complexity among them. This script exhibits an odd phenomenon, as characters in “We Live in Time” appear to lack distinct personalities. Instead, they often serve as delivery systems for philosophical statements about love. There’s little depth that hints at these characters having complex inner lives. The film is filled with generic characters such that Almut’s brother has a fleeting partner who resembles his twin. Even the gay characters in this world have more unique quirks than most inhabitants of “We Live in Time”!
Almut, contrary to others in the film, exhibits somewhat disheveled characteristics. Yet, it’s her compelling portrayal by Florence Pugh that keeps the movie “We Live in Time” afloat. Pugh skillfully infuses Almut with a sense of real-life complexity. Moreover, Pugh’s performance stands out when navigating the film’s intricate non-linear structure. The way she subtly alters her posture, hand movements, and speaking style from one scene to another is truly impressive. A deep comprehension of how human behavior develops over time is evident in Pugh’s on-screen work.
Notably, she adds weight to emotional moments that might have appeared cheesy in less skilled hands. Pugh stands out particularly in the most impactful scene of “We Live in Time.” This part of the story follows Almut and Tobias on a gas station trip that alters their lives significantly. Pugh portrays Almut’s most frustrated and vulnerable moments with a sensitive, non-exploitative approach. However, it’s not just her performance that makes this segment so moving; there’s an increasing sense of turmoil in this sequence that feels refreshingly chaotic amidst the otherwise pristine setting. Garfield delivers an impressive performance during all the ensuing chaos as well. Contrasting his proper demeanor and lines like “my partners in the loo” against the disheveled confusion is quite amusing.
Regarding Garfield and Pugh, they have a strong connection on-screen, but the script seems to fall short in fully utilizing their potential as a dynamic duo. Unfortunately, their performance isn’t captivating enough to overshadow the overall issues with the movie. The visuals are also a letdown, failing to fully explore the film’s potential. Specifically, director Crowley and cinematographer Stuart Bentley struggle to create visually distinctive elements that support the non-linear narrative. Instead, similar color palettes and camera techniques are used throughout the different eras of Tobias and Almut’s lives, which makes it challenging to distinguish between the various time periods portrayed in the film.
Eventually, the non-linear narrative element sputters out in Payne’s script. Much of We Live in Time’s third act runs in a standard chronological fashion. Failing to commit to this conceptually distinctive element encapsulates We Live in Time’s frustratingly banal nature. There are charming virtues nestled in here and you could do worse as a date night movie option. However, the latest John Crowley film is nowhere near as impactful as that car that totaled Tobias. It’s more like the in-movie presence of that viral carousel horse from the We Live in Time poster: fleeting and ultimately forgettable.
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2024-10-25 19:15