IRIS (Molly Gordon) and ISAAC (Logan Lerman) are a thirty -year -old couple with a romantic weekend. They sing in the car (it’s Dolly, it’s Kenny), they go out in the lake and enjoy a dinner for candle abroad (making the rock!), While learning more about each other. Interestingly, it’s the time spent with the exhibition unusually with the setting of the scene. Doesn’t this really know? Just how in love these two?
It is clear at least that they are still unbelievable, sometimes it cannot be controlled, cornea for each other and when it happens in some BDSM equipment, they decided to indulge. Then you leave the sex game with Isaac with chains on the bed exactly, as we discovered what stage in which their relationship is found in: Iris thinks it is exclusive, but Isaac does not really search for anything dangerous …
It is a type of smart setting that could have either a dark, embarrassing or exciting, psychological comedy. IRIS’s initial anger can be recognized embarrassingly for many of us who also felt deceived through the harsh gap between a person’s behavior and the intentions of a person. Why does Isaac say these things and behave in this way if he is only deceived? The initial repercussions are wonderfully uncomfortable, then somewhat sad, it was placed directly by the hollow Gordon, and the text is smart enough to run Isaac, which Lerman played magically, to an easy evil. But while the film is happening on a real and painful fact of the problems that come from dating without a poster, as things begin to move, it becomes difficult to understand how they found themselves here (does someone resist commitment and commitment to the guilt associated with the sorrow of the mastermind truly on the perfect weekend. With someone who is clearly eager more than that?).
Writer and director Sophie Brooks, who also appeared in a similar smart collection in her first appearance on the basement, formulated the idea during the 2017 lower floor, and it is clear that it is a film born of the restrictions of that period. It occurs mostly between the unfinished Gordon and the terrified Lerman, although they were later joined by friends who hope to spread the situation: Geraldine Vesanathan is often very funny and the Research Party often the following Reynolds. Things then begin to become ridiculous in a very early time, and it was a terrible position, and the situation soon descends into a bad and increasingly boring farce while the characters, panic, plot, and clothing scream.
Brooks is unable to find a way to return safely and forth, from reality to ridiculous, and loses the vision of Gordon’s character who needs to be loved and acceptable that disappears to a copy of Cathy Pits in her screaming in Cathy Pits in misery, every slight difference and sympathy went. Karnak’s decision a lot of the film reaches 11 drowns in any piece of insight, as it becomes uncomfortable for Sordon, whose innate charm and low comic capabilities of something begin to ask for a very big thing. Thanks to this, it is a kind of huge, and going to Brock that most actors will face (one can see rare talents such as Kate Hudson or Goldi Hwan that may pull them) but it seems like a harmful thing to do to force them on things that you cannot.
The film was never sure to how to push it and the extent that it is supposed to remain on its side or at least it is still believed as a real person to build an exaggerated movie. There is a last attempt to try to equal behaviors that should not be a contribution to a wonderful conclusion, learning lessons, more intelligent, and less keen on entertainment, the film can find a better way to leave us with something more reflective or complicated for chewing. But with precedence, and difficulty in buying, the precedence is precedent, this means that we are very ready to move from welcome to goodbye.