Until, Perhaps, do You Part of the Nahnatchka Khan | Review


Published on Jun 07, 2019


Ago almost tenderness with which the salient point of this rom-com targata Netflix, and focuses on a cast of the eastern chase bar to replicate the success of the recent Crazy Rich Asians by Warner Bros., is represented by the appearance of Keanu Reeves in the role of Keanu Reeves (why, yes, Keanu Reeves has become a phenomenon of social so popular that it would be short-sighted for anyone not to try to speculate on that same aura of popularity that surrounds his name).

Making its debut in long, the director, and television producer Nahnatchka Khan proves to not be able to break away totally from that of the industrial world, putting in scene a film that is much more rooted in soap-opera than it does in the cinema, and the soap-opera that is presented to us is not particularly brilliant; it certainly is not brilliant, the chemistry between Randall Park and Ali Wong, who is also expected to support the film, but instead it is obscured by the patina of lazy comedy that envelops everything.

Until Maybe do You Part tells the story of two childhood friends who do not speak for more than fifteen years. When Sasha (Ali Wong), now chef of international fame, he moved to San Francisco to open a new restaurant, he encounters his old friend Marcus (Randall Park), a musician, a bit failed, which is still dependent on his father.

Despite the two very different lives, the attraction that binds them seems never to have been turned off. And when the boyfriend of the talented chef decides to call it a day shortly before their marriage, between the two seems to open a new possibility. Will Sasha and Marcus to overcome their past and take a second chance at love?

Get up to find out the answer may be at risk of not be of interest to you, for as the film remains impassive, visually cementing what we might begin to define officially the “model rom-com Netflix” (infamous examples: Set it Up, All The Times I Wrote I Love You, The Incredible Jessica James), that it's almost a real sub-genre of comedy.

Watching the film you get the feeling that someone has forced the tones of comedy to a story that in reality was designed to blend in more to the drama: Wong and Park move seamlessly between the serious and the fun, with the only result to never meet half way, like a perpetual tug-of-war in which nobody wins. The visual language is generic and underdeveloped, and the role of Reeves is to think more like a big publicity stunt than a real attempt to surprise (his jokes are aphorisms that are located exactly in the middle between a beautiful irony and a celebration of his own legend, and is the only reason why this film will be remembered).

There is also the intention quite blatant to capture/to deride the audience of television programs of the kitchen, not that we go too far in the ideas of staging, with some sequences that would be when Harry met Sally but make you think about Masterchef.

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