It was inevitable that one of Colleen Hoover’s beloved romances would eventually transition to the silver screen, and it seems fitting that her most notorious novel, It Ends with Us, would be the first to receive this cinematic treatment. The filmmakers, led by director Justin Baldoni, faced a formidable challenge. Depending on one's perspective on the internet, the story of the charismatic redhead and aspiring florist Lily Bloom, brought to life by Blake Lively in the film, is either a profoundly touching tear-jerker or a clumsy, abuse-glorifying work of cringe. However, with sleek screenwriting, elegant art direction, and a dazzling lead performance from Lively, the film approaches its complex subject matter with a blend of maturity, tenderness, and a touch of whimsy. The filmmakers’ adept handling of the narrative ensures that the poignant moments resonate deeply while also maintaining a balance that keeps the story engaging and heartfelt.
Within the pages of Hoover’s book, it can be challenging to grasp what makes Lily so unique and compelling. However, on screen, Lively's presence is undeniably magnetic. Donned in Carhartt jumpsuits and chunky rings, the former Gossip Girl star breathes life into Lily, making her both glamorous and relatable. She shares a natural chemistry with Baldoni, who takes on dual roles as both director and one of Lily’s love interests: the beguiling neurosurgeon Ryle Kincaid. Ryle's violent and jealous nature triggers Lily to relive her troubled past. Baldoni brings a nuanced, complex emotion to Ryle, elevating him from a mere sexy abuser or outright villain to a loveable, pitiable man.
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The film's visual storytelling captures the raw intensity of Lily's journey, as she navigates the tumultuous waters of her relationships and her own inner turmoil. Lively’s portrayal is not just a performance; it’s an embodiment of a woman struggling to reconcile her present with the shadows of her past. The synergy between her and Baldoni is palpable, creating a dynamic that draws viewers into their fraught yet compelling world.
Baldoni’s direction is both sensitive and unflinching, allowing the narrative to unfold with a balance of tenderness and tension. He skillfully avoids turning Ryle into a one-dimensional antagonist, instead presenting him as a multifaceted character whose actions, though reprehensible, stem from a deeply troubled psyche. This complexity invites the audience to explore the gray areas of human behavior and the often-painful realities of love and loss.
As the story progresses, the layers of Lily's character are peeled back, revealing her resilience and vulnerability. The film doesn’t shy away from depicting the harsh truths of her experiences, yet it also highlights moments of hope and empowerment. It’s a testament to the strength of the human spirit and the enduring quest for self-discovery and healing.
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These characters feel genuinely relatable rather than mere caricatures, thanks in large part to Christy Hall’s screenplay, which skillfully strikes a balance between self-deprecation and fan service. When Lily and Ryle first meet, they humorously acknowledge the absurdity of their names, setting the tone for a film that never takes itself too seriously. This is a film where a woman named Lily Blossom Bloom opens a flower shop, falls in love with a physician who looks like a Greek god, and coincidentally hires the doctor’s sister (Jenny Slate) to help run her shop—all while her first love, Atlas (Brandon Sklenar), reappears in her life. But the movie revels in its own charming absurdity.
By shifting the narrative perspective from first-person to third-person, Hall sidesteps some of the novel’s more sappy elements, allowing the audience to focus on the complex, occasionally heart-wrenching realities of Lily's life. The flashback scenes are executed with excellence, featuring a standout performance from Isabela Ferrer as young Lily. Ferrer’s portrayal is so in sync with Lively’s mannerisms that it borders on eerie, making the transition between past and present seamless.
Of course, this adaptation remains true to its roots, embracing the inherent ridiculousness of the source material. Should Lily view Atlas, who corrals her in a bathroom and physically confronts Ryle, as a savior from her abusive life? Is it possible to sustain a small business with just one other employee amid constant romantic turmoil? Is Boston truly the best city in the world, as the characters insist? Perhaps not. Nonetheless, It Ends with Us proves to be an admirable translation from page to screen, likely to attract new fans while satisfying die-hard enthusiasts.
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It Ends with Us may be an occasionally sappy and overly sentimental novel, but Justin Baldoni’s film adaptation, bolstered by an ace script and stellar performances—particularly from Blake Lively—elevates Colleen Hoover’s story to new cinematic heights. That’s not to say the film doesn’t indulge in the occasional bout of ridiculousness; it does. However, audiences are more likely to laugh through these moments than cringe, and they might even find themselves tearing up along the way.
In the end, It Ends with Us manages to balance its moments of levity with powerful, heartfelt drama, making it a worthwhile watch for both new viewers and long-time fans of the book. The adaptation captures the essence of Hoover’s story, delivering a cinematic experience that is both entertaining and emotionally satisfying.
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