WE LIVE IN TIME

As previously mentioned, 'We Live in Time' boasts top-notch performances from its leads, although at this point, both Pugh and Garfield have established themselves as the MVPs of whatever projects they're attached to. Their palpable chemistry is what keeps this film from flatlining, and they're able to make each moment of Tobias and Almut's romance, no matter where it is in the timeline, feel truly authentic. It's just a shame that the romance they're bringing to life is so remarkably unremarkable, and it doesn't matter that Almut is a cuisine Olympian or that the couple faces nightmare levels of tragedy. The story itself feels at best derivative, and at worst manipulative, full of tried-and-true techniques to get audiences reaching for their tissues. Hell, even I found myself with a lump in my throat at times.

Perhaps I'm a far more cynical filmgoer than the ones that 'We Live in Time' will cater to, but recycling this same kind of weepy romance for each generation should come with an impetus for doing so – if you've seen a romance film with one terminally ill partner, then you've pretty much seen them all. In 'We Live in Time', the three timelines and motif of ticking clocks are unsubtle in their reminder to make the most of every moment, whether it's Almut considering her biological clock, the time between her contractions, or the time left on the clock as she powers through a cooking competition. The timelines also contribute to that feeling of emotional manipulation, a way to skip through Tobias and Almut's lives to moments convenient for the traditional structure of a romance narrative. Here, sentimentality is a crutch rather than a drawcard, further shoved down the audience's throat by the twee score, courtesy of The National's Bryce Dessner.

It's always disappointing when a film doesn't live up to its potential, especially when it's helmed by a director as talented as Crowley and one that borrows so heavily from the tried-and-true playbooks of greats like Richard Curtis. 'We Live in Time' isn't bad, but it should be a slam dunk – so don't be disappointed if you come away with nothing but a shrug and a dried tear or two. That's the problem with "fine" films; talent like Florence Pugh and Andrew Garfield deserve much better than "fine."