'It Ends With Us ' review: Lively keeps romantic drama from going stale

Courtesy of Sony

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In case you didn’t already know what glossy, cliche, romantic drama fodder “It Ends with Us” is, there’s a moment towards the end of the film where the movie sets up the main character, played by Blake Lively, to actually say the title in a line of dialogue. And you know it’s coming like a tidal wave because it gets quiet, the background noise ceases, and the camera zooms in as if Lively was sacrificing herself ala Robert Downey Jr. in “Avengers: Endgame.” It’s precisely the moment the Leonardo DiCaprio pointing meme was made for. 

So, yes, “It Ends With Us,” based on the bestselling novel by Colleen Hoover, who has become a celebrity in the BookTok world, takes itself very seriously. And considering the subject matter, which centers around generational trauma and abuse, it should, but you can’t help and feel the CW vibes radiating from every frame. It kind of works for the same reasons people indulge in mindless reality television - looking at you “Bachelorette” fans - because we know and expect it’ll be a little formulaic and cheesy. 

Arriving as counterprograming to her husband’s Marvel behemoth, “Deadpool & Wolverine,” “It Ends With Us” should have no problem packing in an underserved audience of devout fans looking for a good cry. And the studio has wisely marketed and positioned the film to another group of rabid fans: Swifties. It’s no secret Lively and Swift are besties and the synergy between the two will no doubt fuel business with an endorsement post on the way that will turn this film into a late summer smash. 

Avoiding some of the laughable pratfalls of another major book-to-movie adaptation, “Fifty Shades of Grey,” screenwriter Christy Hall (“Daddio”) does bring some grounded emotion to the proceedings, boasting an earnest self-awareness that juggles two contrasting relationships in a manner that’ll satisfy fans of the books and leave non-readers somewhat intrigued. It helps performances by Lively and relative newcomer Brandon Sklenar elevate the film beyond some silly filmmaking decisions. 

Lively plays Lily Bloom, who is still processing the death of her abusive father when she meets the handsome, brooding neurosurgeon Ryle Kincaid (Justin Baldoni, also directing) by chance via rooftop and is basically swept off her feet. Ryle, of course, tells her: “he doesn’t do relationships,” because, there needs to be some drama amirite? And instead wants something a little more casual, but Lily wants commitment. Meanwhile, she’s in the process of opening up her own flower shop in Boston (how she can afford this is never answered) and, making matters worse, her ensuring romantic courtship with Ryle hits a snag when her high school sweetheart, Atlas (Sklenar - radiating the charm and screen presence Scott Eastwood thinks he has) comes waltzing in the picture and reminds her of a not so distant past riddled with demons. 

Baldoni knows the audience he’s catering and he amplifies all the genre tropes and cliches almost to the point of parody. But again, it’s kind of why it gets a slight pass when others fail to ignite. He’s decorated with a cast of good looking people and good looking scenery, and the prowess of a textbook Swift needledrop. Plus Hall’s dialogue, while a little rough around the edges, showcases abuse and tension with the gravitas it deserves. It doesn’t treat it like a cheap punchline and keeps the movie heightened and, surprisingly, believable. 

That doesn’t necessarily make it a good movie: a-lot of moments are forced and don’t organically flow, and it’s clear Baldoni should have stuck to solely directing duties as his performance gives discount Penn Badgley in “You” energy. I’d argue some of the darker moments, especially those involving Lily’s father and Ryle, should have pushed the envelope further and really hammered home the evilness of these characters. Nevertheless, the lessons of self-love and self-worth are enveloped in a movie that has a solid emotional catharsis and, perhaps most importantly, never condescends to its targeted demographic. You know who you are. 

Grade: C+

IT ENDS WITH US is now playing in theaters.