With more intelligent simplification, it was possible to “Life List”. As the original Netflix suffers for two hours by trying to mix two stories that can be predicted into one: a romantic research selected for the person who was crammed alongside a drama for a woman without a direction that her dead mother encourages to rediscover her Joy de Five In order to demand its inheritance. Not only does the narrative momentum stop repeatedly, but questions of completing our heroine lack the basics to present exciting feelings. Worse, it is customary more interested in telling us how it is financially able to withstand the crisis of a quarter -life identity in New York City more than giving her journey towards enlightenment, any real feeling of internal shift.
Alex’s Doll (Sophia Carson) stuck in her life, just don’t realize it. She is approaching her spare time in an upper apartment in an unfamiliar city with her long -term boyfriend, Finn (Michael Rowland). She left her dream job as a teacher for months, and she returned to a marketing profession, where she worked with her mother company from her mother Elizabeth (Kony Breton). Unlike her brothers, Lucas (Dario Landani Sanchez) and Julian (Federico Rodriguez), she does not have immediate plans for children and live in suburbs. She is a great care and friend of her gentle sister Zoe (Marianne Rindon) and Snarky Blond Bestie Megan (Chelsea Frei). However, the world, as Alex knows, is about to be raised.
Elizabeth died of cancer (or thus we conclude through the evidence of the context, as the film director treated, saying that it is the “other word” C) and left specific instructions for its property with a new co -lawyer of Brad (Kyle Allen). Instead of obtaining expected functional reinforcement and family property, Alex was surprised by a maternal lecture from behind the grave on a registered DVD disk. My mother’s orders are clear: Alex will complete 12 lines in her 13 -year -old bucket list by the end of the year or will not receive her inheritance. Alex’s mission will not be to re -ignite her feelings and spend more time with her mother through pre -recorded video articles, as the list is filled with difficult tasks such as classic piano playing, reading “Moby Dick” and finding true love.
Adapting his movie from the novel Lori Nelson Spielman bearing the same name, the writer and director Adam Brooks (“Certainly, maybe”) faces difficulty transforming characters and mystery from one page to another. Failure to know exactly what to cut, what to keep it and what to completely fix it. The huge family detection takes us in a distortion of a large part that would play better in a cross series instead of an intense movie. It stipulates madly and repeats the things that were displayed just minutes ago. There are tasks on Alex’s original mission, adding bullet points to its list of tasks, such as playing at an illustration and completing the real love for Elizabeth, as well as more obligations to do other things that frighten it for a straight week.
With the exception of the two men who provide the film with a triangle of irreversible love, everyone in the orbit of Alex is unique and not interested. We have given us a few reasons for the care of these people. Megan is a very terrible friend, surpassing Alex’s prosperous relationship with the potential Parameore Garrett (Sebastian de Souza). Brad’s wonderful friend Nina (Maria Young) is friendly with Alex, as she was speaking and singing during a long journey of cars, but suddenly turns into a better reason than the jealousy managed by the scenario. Julian and Lucas are very cute, mainly switches. Their desires are expressed late in the movie, providing filling instead of a new, honest angle.
Then there is Alex. It is easy to understand the procedures that settled on a professional profession and a passionate relationship, but we rarely sympathize with it. Not because of not trying either. In her hints of humanity and tenderness, Carson was installed under the solid external appearance. Its comedic timing, differences and ingenious relationship with Allen, the gift of the film with a luster of light and effectiveness, because it raises the material as it reduces the most difficult Alex edges.
However, the character designed by the author and director is somewhat selfish, and when she really faces opportunities for development, she does not take her. Her experience tamed the troubled student Ezra (Luca Badovan) almost gained her sympathy. barely. It acquires new skills, inevitably free from its comfort area, but this differs from growth as a human being. All that she succeeded in doing is to expand herself without doing any emotional work – from the way she is doing over and repeatedly creating Garrett due to the failure of how her factors in the feelings of anyone but specifically when men face her from her past who disappointed her.
Where the narration is left not present, Brooks and Company find some strength in its aesthetics. Melting from God’s point of view is a comfortable and warm embrace in a bed between the mother and the daughter to the cold cold, the sad of Alex’s only body that strikes us like Wolop. The rear light from Golden Light, handwriting similar to teenage girls who runs on the screen during montage when Alex complements a few goals that nostalgia for a graphic era. The embarrassing conversation between Alex and her scattered father Samuel (Jose Zeniga), where traffic speeds between the husband confirm the chasm in their relationship.
It is no longer disappeared in a few types of species-such as showing a man like a crocot and the girl’s presence to announce her love-he no longer passes through. Unfortunately, the feelings of the film carry a lot of depth and ringing such as the “Live, Law, LOVE” sign on a rack in homegoods. Ironically, as for a movie in the hope that it will inspire us to bear the risks and re -discover our own dreams, it is very comfortable to settle on fading, formulas, and Ashaniangan conflicts to tell her story.