I consider Blake Lively to be a rather underrated actress. Perhaps it’s due to the greater recognition her husband (Ryan Reynolds) receives, her less successful films, or even the genres chosen by the actors… There are many possible reasons. But personally, I was surprised by Lively’s performances in The Shallows, A Simple Favor, and The Rhythm Section, where she demonstrates an ampler range than she’s usually credited for. Without prior knowledge of Colleen Hoover‘s novel, on which this film by actor-director Justin Baldoni (Clouds) and screenwriter Christy Hall (Daddio) is based, I went into It Ends With Us hoping for a compelling romance.
The narrative premise is relatively familiar. Lily Bloom (Lively) is a woman who has overcome childhood trauma – or so she thinks – and embarks on a new life in Boston, where she pursues a childhood dream of opening her own flower shop. A random encounter with Ryle Kincaid (Baldoni), an attractive neurosurgeon, sparks an intense connection. But as the two fall deeply in love, Lily notices similarities between her relationship and her parents’. When Lily’s first love, Atlas Corrigan (Brandon Sklenar), suddenly reappears in her life, her relationship with Ryle becomes more unstable, and Lily realizes she will need all her strength to make an impossible decision for the sake of her future.
A light, formulaic love triangle is inserted into a thematically heavy narrative. It Ends With Us has its heart in the right place, but the balance between Hollywood dramatization and the serious issues portrayed isn’t always effective. Hall’s script adapts the original source material’s topics of domestic violence, relationship abuse, and generational trauma in a shocking, impactful manner, no doubt, but there are moments where the chosen perspective can be interpreted as a shock device meant more for entertainment than for a detailed study of the complexity of these themes.
It Ends With Us gives Ryle a backstory that explains – but does not excuse, mind you – where his future violent actions come from. The film avoids the mistake of turning the husband into a paper-thin villain for the sake of the plot or because “men are bad.” Instead, it tries to convey the message that hurt, traumatized people often end up hurting and traumatizing others if they’re not able to confront and resolve their past issues. Personally, I also appreciated the distinction between committing a bad action and *being* a “bad person.”
Nowadays, it seems that everything is viewed in absolutes. A single comment or action can permanently label someone who’s likely much more than just that good/bad moment. Naturally, it’s the constant repetition of bad behaviors that raises alarms, and in the case of Lily and Ryle’s relationship, the avoidable “accidents” and empty promises of never letting it happen again are too clear to ignore. However, Baldoni – both behind and in front of the camera – has the technical skill to show that amid darkness, there’s always a light at the end of the tunnel and that it can be reached when you take the first step of recognizing that you need help.
The title It Ends With Us thus carries a clear meaning related to Lily’s effort to end generational trauma. The protagonist doesn’t want to fall into the same trap as her mother, but love distorts even the most obvious warning signs. Baldoni uses different perspectives to illustrate the same situation in a predictable way, but with notable efficiency, especially in conveying the message that “not everything is what it seems” and how biased we are towards our own relationships, even if unconsciously.
The importance of communication between the couple is also frequently highlighted. It Ends With Us builds numerous sequences, some more forced and overly dramatized than others, that could easily have been bypassed through honest, direct communication. Whether it’s the death of a close family member or the meaning of a tattoo, if there’s no openness and trust to explain vital moments of our lives to the person we supposedly love, how can we move forward and live in the present if we’re still stuck in the past?
The main issue with the movie is the balance between all these subject matters and storylines, their severity, and some shocking third-act revelations. It Ends With Us relies heavily on the superb performances of its cast – Jenny Slate (Everything Everywhere All at Once) impresses with a very complete, emotional performance – and on the palpable chemistry between all the actors – Lively, Baldoni, and Sklenar (Vice) create a vibrant love triangle – to overcome clumsy dialogue and abrupt transitions. The complexity of these topics isn’t easy to portray in cinema, so this adaptation could have gone terribly wrong very quickly. Fortunately, Baldoni & co. deliver a respectful, even occasionally thought-provoking film that warrants the personal recommendation.
It Ends With Us tries to balance heavy drama and conventional romance with some difficulties, but it manages to offer a minimally thought-provoking reflection on generational trauma and relationship abuse. Formulaic and not as deep as the complexity of its themes demands, yet still effective enough due to the strong performances of the cast, Justin Baldoni’s sensitive lens, and several valuable messages for the audience. The heart is in the right place, despite the problems that haunt the film.
