‘Sweethearts’ Review: Kiernan Shipka Leads a Reductive, Raunchy Rom-Com That Examines Love and Life’s Complexities

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As a cinephile who has seen more romantic comedies than I care to remember, I can confidently say that “Sweethearts” is a charming yet chaotic ride. It’s like watching two halves of a delicious dessert recipe accidentally mixed together, resulting in a delightful mess that leaves you wanting more but also wishing for something a bit more cohesive.

In the movie “Sweethearts,” directed by Jordan Weiss, we find ourselves exploring the age-old question: can men and women truly be just friends? Set among a modern university crowd, this film takes its time to delve into the query, instead focusing on two best friends ending their hometown relationships over a holiday weekend. However, as the movie progresses, we are presented with two comedic storylines that seem unresolved, leaving us with the impression of two incomplete screenplays combined. Despite boasting a talented cast and poignant themes about self-acceptance and deep friendship, the film feels disjointed, held together by thin threads of connection.

Nico Hiraga’s character, Ben, and Kiernan Shipka‘s character, Jamie, have been inseparable since childhood and aim to maintain their friendship as they navigate adulthood, starting by attending the same college at Densen University and living in the same dorm. Despite their strong bond, they face a multitude of challenges, including Ben being walked over by his roommate Tyler, while Jamie’s attempts to help her roommate Kelly come up short. Their romantic entanglements also cause complications: Ben’s distant girlfriend Claire, who’s still in high school back home, consumes much of his time and takes him for granted, while Claire’s boyfriend Simon, a jock, frequently annoys her with his demands for explicit messages and movie nights. As a result, they’ve become social outcasts at their university – but they’re fed up with it all.

To make a fresh start and fit in better, Ben and Claire devise a plan to break up with their partners, Simon and Claire, when they travel home to Ohio for Thanksgiving. They decide to use Palmer’s house, as he has returned from living abroad in Paris and is hosting a small coming-out party. However, from the moment of their breakup, Ben and Claire face numerous issues, including an annoying eavesdropping passenger on a bus (Stavros Halkias) and reconnecting with an overly enthusiastic ex (Kate Pittard). Their partners mysteriously disappear before they can end things. Meanwhile, Palmer’s trip also experiences some unexpected twists, such as discovering their small town has a queer bowling league that his former high school coach, Coach Reese (Tramell Tillman), attends.

In their collaboration with Dan Brier, Weiss reinvigorates conventional “wild teenage escapades” narratives by subtly reinventing them. Unlike typical house parties, Claire and Simon find themselves in an unexciting social gathering where they consume too much alcohol. Later on, a troubled acquaintance from Jamie’s past (Sophie Zucker) appears not to harass her but to reconcile and reconnect. In contrast to stealing a high-end car, Ben and Jamie make off with a goofy, cherry red tandem bicycle instead. One of the film’s most inventive twists involves Ben using the ID of a deceased person, who was also the owner of the ID, getting discovered by a burly bouncer (Darius ‘Nastyelgic’ Jackson), who surprisingly served as a pallbearer at the funeral for that individual.

As a fan, I must admit that the filmmakers aimed for raunchy humor but fell short in delivering anything truly funny, innovative, or memorable. The events they’ve orchestrated feel overdone and are unfortunately abandoned after an early introduction (with one exception being the awkwardly placed sex tape revealed just before the end credits). The frat party sequence featuring Ben and Jamie is clumsy – the seeds of potential disasters are sown, but the escalation and outcomes are as predictable as a clock’s ticking. The humor in this film is cheap and simplistic, ranging from an irritated partygoer who throws her drink on Ben to a drunk side character who resorts to a crude stunt for a lowbrow gag.

In the movie, Palmer is portrayed as one of the trio’s best friends, but his storyline doesn’t seem to connect well with theirs. It appears that his character was either not given enough focus or could have been removed altogether. Instead, he feels like an additional or leftover element in a scene where he should have been more central. Although he’s introduced as a main friend in the opening credits, the film doesn’t treat him as such. Palmer spends most of his screen time apart from the other two characters, exploring the local LGBTQ+ community, which seems unusual considering their small-town setting. Additionally, while it is expected that he would seek an apology at the end, it’s questionable why he does so when it’s actually Ben and Jamie who should be apologizing for neglecting him throughout most of their visit.

Ben and Jamie engage in lively, harmonious banter that often emerges during their candid conversations about sex, love, aspirations, and fears. The story thrives when it focuses on their disagreements and predicaments. Shipka and Hiraga make an appealing pair with their quick-witted exchanges in casual, comfortable dialogues. Shipka subtly introduces some tender, emotional nuances that enhance her compassionate character. Hiraga, who has previously impressed in “Rosaline” and “Booksmart,” delivers a compelling performance as the leading man. He skillfully addresses the weaker parts of the script and makes his heroic scene genuinely deserved.

Demary and Hall bring complexity to their characters as former partners on the brink of divorce. Christine Taylor portrays Ben’s compassionate mother, while Joel Kim Booster takes on the role of Coach Riggs’ partner and Palmer’s wise confidant. These talented actors infuse the story with emotional depth that is sadly overshadowed by forgettable material.

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2024-12-07 02:46