The tepid advertising for The Lovebirds gave me little motivation to see the movie. Even with the same director and star of The Big Sick, it just did not look funny with its trailer, so it was already gearing up to be mentally banished to a “see it eventually” field that might never be fulfilled. Then after COVID-19, it was bought by Netflix and now I had easy access to a brand-new 2020 movie previously targeted for a wide theatrical release. I watched The Lovebirds the day it debuted and was pleasantly surprised to notice just how much I was laughing early on, and that laughter continued throughout the movie’s entire running time. Kumail Nanjiani (Stuber) and Issa Rae (HBO’s Insecure) have a winning chemistry but they’re even better when they’re at odds, and the movie smartly frames the on-the-lamb misadventure during their dissolution as a couple. Through the harrowing events, we get a fuller picture of why their relationship didn’t work out, the issues each has, and why it might just work out over the course of some rather outlandish events trying to clear their names for murder. I found more to like in the riffs and weird diversions the movie would find itself circling, where an observational joke or offbeat moment could extend and find new life. The comedy set pieces are fine, though an Eyes Wide Shut-style orgy is a bit lazy without going into more humor on the group and their stuffy rules. I wish there were more meaningful and colorful supporting characters but the emphasis is on our main couple. I found myself smiling and nodding along and being taken by the low-key charms of a brisk comedy that didn’t ask much more of me than to have a good time with some appealing actors. It’s not The Big Sick but it’s not a big bomb either. On Netflix streaming, The Lovebirds is a perfectly enjoyable 100 minutes to stretch out to and chuckle to yourself and think back on how the abysmal advertising really undersold the funny.
Nate’s Grade: B
The Photograph is a romantic drama that is unfortunately tethered to three very uninteresting lead characters. They all have potential; a journalist (Lakeith Stanfield) getting closer to a story than he anticipated, a woman (Issa Rae) learning more about her artistic, ambitious, and self-involved mother (Chante Adams) after her death. The problem is that these characters all feel trapped in boxes, confined, and the personal growth onscreen is minimal. Sure, we still get the boy-meets-girl and boy-loses-girl paces expected but there’s precious little depth given to these people. It feels like writer/director Stella Meghie (Everything Everything) should be mining more insights and revelations from this mother/daughter re-examination, but by the end we haven’t learned anything we didn’t already know in the first thirty minutes. It’s a strange experience because even as things are, on paper, moving forward, the movie feels stagnant. This is also a byproduct of the nascent chemistry between Stanfield and Rae, two genial, good-looking people that just don’t have that spark or urgency when they’re comfortably close. It’s a movie that seems to stay in the same languid gear throughout the movie, even as the couple is progressively getting closer. It’s a competently made movie with good actors but my mind kept wandering and wondering what a full movie following the mother chasing her dreams might resemble, or a full movie following Lil Rel Howery (Get Out) and his adorable family, the character who entertained me the most. The story elements are here for an engaging and potent romantic drama but the mix feels undercooked and stale.
Nate’s Grade: C+