Sundance Party Report: Zac Efron, Awkwafina, Jason Momoa and More on the Scene (Photos)

Read on: TheWrapTheWrap.

Big stars – and lots of those not-so-famous actors hoping to ride the Sundance Film Festival train to that same spot in the Hollywood firmament – descended on Park City for Sundance 2019 as the fest’s first weekend unfolded from Janua…

Sundance 2019: Every Movie Sold So Far, From ‘Late Night’ to ‘Ask Dr. Ruth’ (Updating)

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This year’s Sundance Film Festival is already shaping up to be a stronger acquisition market than last year’s, with several films already having been sold, including Mindy Kaling’s “Late Night” for a whopping $13 million.

The buzzy Richard Wright adaptation “Native Son” was sold to HBO films before it even premiered on Thursday night. Several movies were sold ahead of the festival as well, including Tilda Swinton’s “The Souvenir” and Ryan White’s documentary “Ask Dr. Ruth.”

Several sales agents and buyers predicted a healthy and stable marketplace this year after last year’s somewhat slower festival.

Also Read: Amazon Nabs Mindy Kaling, Emma Thompson Comedy ‘Late Night’ for $13 Million

Several buzzy films are still up for sale, including Awkwafina’s “The Farewell,” Shia LaBeouf’s “Honey Boy” and Julianne Moore’s “After the Wedding.”

Bidding wars have been scarce so far this year. “Buyers are savvy and generally are paying what they think is necessary to make a deal happen while also fitting their individual business model,” one insider said. “I don’t expect there will be more than one or two legitimate bidding wars but I do expect it will be an active market given the number of players in the space looking for content.”

Here are the Sundance entries that have signed new distribution deals so far in Park City:

“Late Night”

The first big festival acquisition was Mindy Kaling’s “Late Night,” which sold to Amazon Studios for $13 million just shortly after its premiere on Friday night. The film received loud claps and laughs, and many audience members had called it the first commercial hit of this year’s festival.

Nisha Ganatra directed the film that also stars Emma Thompson and John Lithgow. Kaling wrote, produced and starred in the film that follows a legendary late night talk show host (Thompson).

“Native Son”

Ahead of the Thursday night premiere of “Native Son,” HBO Films bought the rights to Rashid Johnson’s modern re-imagining of Richard Wright’s seminal novel, about a young African-American man named Bigger Thomas (Ashton Sanders) who takes a job working for a highly influential Chicago family, a decision that will change the course of his life forever.

Margaret Qualley, Nick Robinson, KiKi Layne, Elizabeth Marvel, David Alan Grier, Sanaa Lathan and Bill Camp also star.

Also Read: ‘The Farewell’ Film Review: Awkwafina Shows Range in Rich Intergenerational Drama

“Ask Dr. Ruth”

Hulu picked up the rights to the “Ask Dr. Ruth” documentary well ahead of the festival.

Directed by Ryan White (“The Keepers,” “The Case Against 8”), “Ask Dr. Ruth” chronicles the life of Dr. Ruth Westheimer, a Holocaust survivor who became America’s most famous sex therapist. With her diminutive frame, thick German accent and uninhibited approach to sex therapy and education, Dr. Ruth transformed the conversation around sexuality. As she approaches her 90th birthday and shows no signs of slowing down, the documentary follows Dr. Ruth as she revisits her painful past and unlikely path to a career at the forefront of the sexual revolution.

“The Tomorrow Man”

Bleecker Street acquired the North American rights to Noble Jones’ debut feature “The Tomorrow Man” a week before the festival.

John Lithgow and Blythe Danner star in the romantic film, which is slated for release on May 19 after its Sundance premiere on Jan. 30.

The film follows Ed (Lithgow), who spends his life preparing for a disaster that might never come, while Ronnie (Danner) shops for things she might not need. The two try to find love while trying not to get lost.

“The Nightingale”

In January, IFC Films acquired the U.S. rights to “The Nightingale,” the latest film from Jennifer Kent, the Australian director of “The Babadook.”

IFC Films is re-teaming with Kent after distributing “The Babadook” in 2014. That horror film made $10.3 million worldwide. IFC is planning a summer release for “The Nightingale,” which first premiered at the 2018 Venice International Film Festival and won the Special Jury Prize, as well as the Marcello Mastroianni Award for Best New Young Performer for Baykali Ganambarr.

Also Read: Michael Jackson’s Estate Calls ‘Leaving Neverland’ Documentary ‘Tabloid Character Assassination’

“The Souvenir”

In December, Tilda Swinton’s “The Souvenir” was picked up by A24. Martin Scorsese executive produces the film that also stars Honor Swinton-Byrne and Tom Burke. A24 will release the film theatrically in 2019 and acquired it from Protagonist Pictures and 30WEST.

“The Souvenir” follows a quiet film student (Swinton Byrne) who begins to find her voice as an artist while navigating a turbulent courtship with a charismatic but untrustworthy man (Burke). She defies her protective mother (Swinton) and concerned friends as she slips deeper and deeper into an intense, emotionally fraught relationship that comes dangerously close to destroying her dreams.

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Nick Robinson, Michael Shannon, Britt Robertson to Star in ‘Echo Boomers’

Read on: Variety.

Nick Robinson, Michael Shannon, Britt Robertson, and Alex Pettyfer are starring in the burglary drama “Echo Boomers.” Based on a true story, the film centers around a group of disillusioned twentysomethings, who break into and steal from th…

Anya Taylor-Joy, Nick Robinson & Sasha Lane Star In ‘Weetzie Bat’ Film Adaptation

Read on: Deadline.

EXCLUSIVE: Anya Taylor-Joy, who broke onto the scene with her lauded performance in A24’s The Witch, has been tapped as the title character in Weetzie Bat, the film adaption of Francesca Lia Block’s 80s cult favorite novel which Justin Kelly is d…

‘Krystal’ Film Review: Rosario Dawson Bewitches in Baffling Farce

Read on: TheWrapTheWrap.

The comic drama “Krystal,” marking William H. Macy’s third time out as a feature director, is so baffling that it must be appreciated at least for its ability to defy all logic. Written by Will Aldis — as though he had gobbled up “Fried Green Tomatoes,” “The Good Girl,” and “Rushmore,” then gargled with bleach and regurgitated the mess on the page — the film tells the story of an 18-year-old boy with a heart that beats too fast (literally), who falls in love with a former junkie prostitute who’s trying to clean up her life.

Taylor Ogburn (Nick Robinson, “Love, Simon”) is a fanciful guy who’s been known to cross signals and get lost in his daydreams, as evidenced in a flashback where he reads one of his dad’s porno mags and imagines the devil walking out of its pages, attempting to chase Taylor down. The animation of the devil here must be singled out for its vision. It had me hoping “Krystal” might become a surrealist tale. But it didn’t.

Yes, the appearance of the devil and Taylor’s horrified reaction to him signals the guilt is strong in this one. And despite his father Wyatt (Macy) informing Taylor when he was a child that God, the devil, and Santa Claus do not exist, Taylor insists on believing in fictions and fairy tales as a young adult, which further fuels his anxiety, as he’s incessantly striving to do what’s “right.”

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When Taylor sees Krystal (Rosario Dawson) walk in from the ocean — in just a wet white t-shirt (no bra) and panties — he’s so struck by her beauty that he nearly dies. Literally. That Taylor develops an unshakeable crush on Krystal for saving his life and taking him to the hospital seems natural. She’s beautiful, a blank slate, a savior in his naïve eyes. But everything that follows this improbable meeting grows so absurd that I had to pause the screener I was watching, go back, and make sure I’d seen what I thought I’d seen, which is, in some ways, admirable that this narrative could keep me guessing so much.

Taylor goes to extreme lengths to woo Krystal immediately, and with every attempt, hijinks ensue: He pretends he’s an alcoholic to infiltrate an AA meeting, and his boss (Kathy Bates) asks to be his sponsor. He sees a biker guy, Bo (Rick Fox), in a leather jacket at the AA meeting deliver a speech about being down and out and rising above it all, and Taylor becomes him, even buying a motorcycle and using Bo’s speech word-for-word to impress Krystal, like he’s Wally Brando or something. (Shout-out to “Twin Peaks: The Return” fans.)

Watch Video: How William H. Macy Tells Felicity Huffman He Doesn’t Like Her Acting (Exclusive)

Macy’s strengths with this film lay in the scenes that play out like a stage production of a classic farce, generally when Taylor, his mom (Felicity Huffman) and dad, and his brother Campbell (Grant Gustin, “The Flash”) trade banter in their quaint, suburban home. Characters speak over one another, jostling for their own screen time, while Macy blocks the scene with each family member moving round the room, creating some much-needed dynamic action.

And the only time we get a hint that director Macy understands that Taylor’s newfound identities are truly dumbfounding is when this family razzes him endlessly about his puppy love. It had me wishing the whole film were just a single-location encounter of the family meeting Krystal and her 16-year-old son Bobby (Jacob Latimore) for dinner.

Watch Video: Watch Kumail Nanjiani Ask William H. Macy a Really Good Question

We do get that scene later on, and it’s appropriately bonkers, with some big reveals and a chance for Huffman to yelp curse words and quickly apologize for the language, but Macy leaves that drama too quickly, focusing for some reason on auxiliary characters, like William Fichtner’s Dr. Farley, a pot-smoking incompetent physician who always seems to be available to treat Taylor — for both his heart condition and a stab wound inflicted by Krystal’s ex Willie (T.I.).

And while Krystal is the title character, she’s also the least understood of them all, which could potentially have made the film funnier if Macy called more attention to the fact that all of these people are projecting their own thoughts, feelings, and fantasies upon one of the few non-white women in this Southern town. But instead, Macy has Krystal giving in to Taylor’s unfounded affections, with a moment so bizarre that my jaw dropped in a mix of surprise and nausea. “If you don’t kiss me right now,” begins Krystal’s sudden sexual declaration to Taylor as she’s peeking out the window, keeping watch for her violent, controlling ex.

Not to oversell this film or endorse it, but I can imagine John Waters watching “Krystal,” vacillating between boredom and banal amusement, remarking, “Oh well, that’s something.” Because Krystal is definitely… something.



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Film Review: ‘Krystal’

Read on: Variety.

Easily one of his generation’s most gifted character actors, with a hangdog face unforgettable from such films as “Fargo” and “Boogie Nights,” William H. Macy made his feature directing debut some 30 years ago with a savvy TV-news parody called “Lip Service” for HBO. For some reason, it wasn’t until starring in (and eventually directing […]

That ‘Love, Simon’ Crucial Mother-Son Coming-Out Scene Almost Didn’t Happen

Read on: TheWrapTheWrap.

Greg Berlanti’s directorial effort “Love, Simon” has been widely praised as a must-see coming-out story, but the film’s most emotionally resonant moment was not included in the final script.

Actor Nick Robinson’s titular Simon has many conversations — some sweetly awkward, some wrenching — with friends and family about the fact that he’s gay, but the climax of the film comes with a moment between he and his mother, played by Jennifer Garner.

“It wasn’t in the original draft of the script,” Berlanti told TheWrap. “And Jen, when she joined the movie, said, ‘I want to connect with my son in the last act.’ I said she was absolutely right.”

Also Read: ‘Love, Simon’ Film Review: Cute Coming-Out Tale Gives Gay Teens Their John Hughes Moment

The scene is a bittersweet post-mortem after Simon announces he’s into guys while his family opens presents on Christmas morning. After days of tension, he sits with his mother and asks a question common among LBGTQ youth: Did you know?

Garner, whose character is a therapist, delivers a beautiful monologue revealing what she in fact knew: that Simon had a secret though she didn’t know what, that it was a visible burden , and that she hated he had to go through it alone.

There wasn’t a dry eye in the screening “The Wrap” saw, and that sentiment tracks with many audiences. Berlanti set the tone for the added scene, written by adaptive screenwriters Elizabeth Berger and Isaac Aptaker.

“When I came out of the closet, there were two things that were so self-evident they shouldn’t have needed to have been said,  but I remember how good they felt when they were said to me. One of those things was, ‘I still love you.’” Berlanti said.

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“It’s important for people to hear that once they tell the world this other thing about themselves. The other was, ‘You deserve love just as much’ — all you LGBT kids, you deserve love just as much as a straight person.  And go get your love story. That’s what she’s saying, in essence, [in that scene],” he continued.

In the weeks before release, people compared Garner and Robinson’s moment to a similar one between Michael Stuhlbarg and Timothee Chalamet in “Call Me By Your Name.” While shooting, no one was immune to the power of Garner and Robinson, including the crew.

“Every time she did that scene that day, everybody on set was crying. Grips were crying, there were people coming in from craft service because they heard the scene was so moving. You knew that she was doing something [special], and Nick was so present in hearing her. Thats also when I realized, ‘Oh shit. This is universal. We all need to hear this,’” said Berlanti.

“Love, Simon” is touted by Twentieth Century Fox Film as the first gay teen romance film released by a major studio. Strong reviews and an 91 percent Rotten Tomatoes score led the film to an $11.5 million opening weekend on a production budget of $17 million.

The film is currently in theaters nationwide.

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‘Tomb Raider’ Runs to $2.1 Million at Thursday Box Office

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Warner Bros. and MGM’s “Tomb Raider” grossed $2.1 million at the Thursday box office.

Inspired by Square-Enix’s 2013 reboot of the long-running video game series, the action film is looking at a start of $27-29 million from 3,854 screens, with WB projecting a start of $23-25 million against a reported budget of $90 million.

Valuable comps are “The Mummy,” which scored $2.7 million in previews before it grossed $31.8 million its opening weekend, and “Red Sparrow,” which earned $1.2 million in previews and $16.8 million over the weekend.

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“Tomb Raider” is expected to fight “Black Panther” for the No. 1 spot, after the latter has held first place at the box office for four consecutive weekends. With $1.09 billion grossed worldwide so far, “Black Panther” is expected to have a fifth weekend total in the high $20 million range.

Directed by Roar Uthaug, “Tomb Raider” features Alicia Vikander as Lara Croft as she goes off on her first adventure in search of her missing father (Dominic West). Walton Goggins, Daniel Wu, and Kristin Scott Thomas also star. It holds a score of 50 percent on Rotten Tomatoes.

Fox’s “Love, Simon” grossed $850,000 in previews on Thursday and is expected to open in the $10-$12 million range. In comparison, “Everything, Everything” grossed $525,000 in Thursday previews last year, and went on to earn $11.7 million its opening weekend.

Also Read: ‘Tomb Raider’ Film Review: Alicia Vikander Gamely Attempts to Resuscitate Dead Franchise

Based on the book “Simon vs. The Homo Sapiens Agenda” by Becky Albertalli, “Love, Simon” stars Nick Robinson as Simon Spier, a closeted gay teen who forms a relationship with an anonymous gay classmate online. His life is thrown into disarray when a blackmailer finds his online chats and threatens to out him to his family and school. Greg Berlanti directs the film, with Josh Duhamel, Jennifer Garner, Jorge Lendeborg, Jr., Katherine Langford and Alexandra Shipp also starring. The film currently holds a score of 89 percent on Rotten Tomatoes.

Lionsgate/Roadside Attractions’ faith-based film, “I Can Only Imagine,” is also opening this weekend. Based on the story behind the hit song of the same name by Christian rock band MercyMe, it stars J. Michael Finley as MercyMe vocalist Bart Millard and Dennis Quaid as his father, Arthur. The film is expected to open outside the top ten with a $2-4 million opening from 1,620 screens, with a reported budget of $7 million.

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‘Love, Simon’ Review: Winning Comedy About Gay High Schooler Is One From The Heart

Read on: Deadline.

Although on the surface it looks no different than many a mainstream major studio comedy, Love, Simon is almost radical in the sense that it revolves around the everyday life of a gay 17-year-old high school student and doesn’t try to hide that fact on screen or in the marketing materials, which happen to be aimed at teen audiences among others. That kind of subject matter is usually reserved for indie-centric fare like the recent Oscar-winning Call Me By Your Name (also…

Film Review: ‘Love, Simon’

Read on: Variety.

By the time your average American teen experiences his or her first kiss, they’ve probably seen hundreds, if not thousands, of heterosexual smooches on screen. But what about Simon Spier, the handsome, well-liked high-school senior at the center of writer-director Greg Berlanti’s “Love, Simon”? He has “a perfectly normal life” in all ways but one: […]

‘Everything, Everything’ Criticized for Inaccurate Portrayal of Immunodeficiency Disorder SCID

Read on: Variety.

Spoiler warning: Do not read ahead if you haven’t seen “Everything, Everything.“ The recently released romantic drama “Everything, Everything” has drawn criticism from the immunodeficiency community for its inaccurate portrayal of Severe Combined Immune Deficiency, or SCID. The film, which is based on a 2015 novel, stars Amandla Stenberg as Maddy, a young woman who has… Read more »

‘Alien: Covenant’ Scares Up $4.2 Million at Thursday Box Office

Read on: TheWrapTheWrap.

Twentieth Century Fox’s “Alien: Covenant” creeped to $4.2 million at the Thursday box office, a strong opening for the Ridley Scott-directed film.

In comparison, its predecessor “Prometheus” grossed $3.5 million in 2012, going on to earn $51 million its opening weekend. Another solid comparison is “Mad Max: Fury Road,” which took in $3.7 million at the previews and went on to a $45 million domestic opening in 2015.

Heading into the weekend, “Covenant” was estimated to open between $40 million and $45 million by independent trackers, although the studio projected slightly lower.

Also Read: Does ‘Alien: Covenant’ Have a Post-Credits Scene?

Bridging the gap between “Prometheus” and Ellen Ripley’s encounter with the infamous Xenomorphs, “Alien: Covenant” follows the crew members of the titular spaceship as they travel to a new planet to set up humanity’s first large-scale colony. Along the way, they find a mysterious signal from a planet that turns out to be perfect for human life. But when they land, they discover only two inhabitants: David, the android companion from the Prometheus (Michael Fassbender), and the bloodthirsty extraterrestrials that wiped out all life forms on the planet.

Written by John Logan and Dante Harper, the film also stars Katherine Waterston, Danny McBride, and Billy Crudup. It is produced by Scott, Mark Huffan, Michael Schaefer, David Giler and Walter Hill. Critic response to the film has been generally positive, with the film getting a 73 fresh percent rating on Rotten Tomatoes.

Also Read: ‘Alien Covenant’ Review: Monsters Steal the Show in Stylish But Routine Sequel

Along with “Covenant,” Fox is also releasing something much more family-friendly: “Diary of a Wimpy Kid: The Long Haul.” The fourth film based on Jeff Kinney’s hit children’s book series and the first since 2012, it sees an entirely new cast take over as Greg Heffley (Jason Drucker) convinces his family to go on a road trip for his grandmother’s birthday as part of a scheme to become famous. David Bowers directed as well as co-wrote the script with Kinney and Adam Sztykiel. The film currently has a 26 percent RT rating and is projected for an opening between $10-12 million.

Also out this week is Warner Bros./MGM’s “Everything, Everything,” a romance based on the 2015 bestselling young adult novel by Nicola Yoon, which earned $525,000 from previews on Thursday. It stars Amandla Stenberg as Maddy, a teen girl who suffers from an autoimmune disease that keeps her confined to her house but is tempted to explore the outside world after falling in love with the boy next door (Nick Robinson). Made on a reported budget of $10 million, the film is projected to make $10-12 million from 2,800 screens. Stella Meghie directed the film from a script by J. Mills Goodloe. Its Rotten Tomatoes score is 49 percent.

The big question will be whether “Covenant” will gross enough to dethrone “Guardians of the Galaxy Vol. 2.” After grossing $146.5 million its opening weekend, the James Gunn-directed film took in $65.2 million. If it has a 50 percent drop-off in weekend revenue, “Covenant” should come out on top.

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Film Review: ‘Everything, Everything’

Read on: Variety.

How can she ignore the boy next door? Well, she can’t. Never mind that 18-year-old Maddy Whittier (Amandla Stenberg) has been told by her protective mom (Anika Noni Rose) that she can never leave their hermetically sealed home because she’s been diagnosed with Severe Combined Immune Deficiency (SCID), a genetic condition that makes her “allergic… Read more »

‘Everything, Everything’ Review: Girl in the Plastic Bubble Falls for Boy Next Door

Read on: TheWrapTheWrap.

“Everything, Everything” is an updated, gender-reversed and more engaging version of “The Boy in the Plastic Bubble.” Hollywood loves stories of young pretty people with terminal illnesses. Think “Me and Earl and the Dying Girl,” “The Fault in Our Stars,” “Dying Young,” “Love Story,” and many more. So it’s no surprise that Nicola Yoon’s 2015 YA novel was adapted for the screen.

The lead actors are attractive and charismatic and give nuanced performances. Unfortunately, the dialogue they are given to speak is often trite and too many plot strands are unconvincing.

Amandla Stenberg (“The Hunger Games”) brings an appealing openness to the role of Maddy, a smart and imaginative 18-year-old girl with a rare autoimmune disease known as severe combined immunodeficiency (SCID). Because almost anything could kill her, Maddy is not allowed outdoors.

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She’s essentially sealed into her home, which is lavishly and tastefully decorated by her mother (Anika Noni Rose), who is also a doctor. Her mother has designed their home to bring the outdoors as close to inside as possible. If you had to live stuck inside forever, this would be the house to do it in.

We get very little sense of the 17 years that came before the movie starts. It would seem the charming, sweet and astoundingly well-adjusted Maddy never had friends, which is rather hard to believe given her warmth and the readiness of teens to connect electronically and virtually with her. It’s as if Maddy just sprung up in her late teens, allergic to all outdoors but relatively content with her life — until the appearance of the cute boy next door.

That boy is the slightly goofy, handsome and soulful Olly, affably played by Nick Robinson (“Kings of Summer”). On the day he moves in, he takes one look at Maddy and a mutual crush is born.

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They gaze at each other across reflective surfaces; conveniently, her bedroom window looks directly into his room. They text. A lot. And because constant texting is inherently un-cinematic, director Stella Meghie (“Jean of the Joneses”) invents a theatrical device to bring their text conversations to vivid life: Maddy is taking an architecture class online and has constructed a rather elaborate miniature model of a diner. She imagines a more normal scenario for their banter — the two of them inside that diner, getting to know each other naturally. It is definitely more viewer-friendly, but if the movie is trying to illuminate what it feels like to live forever trapped indoors, then it serves as more of an arty distraction.

And speaking of distraction, the story undermines itself by violating its own rules. Or changing them as it goes along. Initially, the only people allowed into their home are her mother, a kindly nurse (Ana de la Reguera,”Narcos”) and the nurse’s teenage daughter (Danube Hermosillo). They — and anything else from the outside world — supposedly go through a de-contamination process before entering. Until they don’t. What “Everything, Everything” boils down to is a wobbly sense of realism that defies its own established constraints and features a twist that strains credulity.

The script, by J. Mills Goodloe (“The Age of Adaline”), is hampered by such banal lines as: “I want to experience what it’s like to be alive,” and “I’m willing to sacrifice everything just to live one perfect day.”

On the plus side, director Meghie honors the original story’s treatment of Maddy as a mixed-race character. Her mom is black, and from photos of her late father, we see he was white. Olly is also white. Maddy’s nurse and her daughter are Latina. It’s a laudably multicultural world, with an emphasis on humanity, rather than ethnic differences. No one mentions race. This is a story about connection and love. And as a teen romance it works far better than as a tale of a young woman confined by a disease.

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The story has come under fire from advocacy groups for its implication that disabled people cannot lead full lives. It also treats a huge breach of trust and confidence as merely an outgrowth of parental affection, intensified by tragic loss. Maddy’s mother is a doctor and something she does would be worthy of a revoked medical license, but those matters of authenticity are brushed aside.

And then there are the issues of way-too-easy credit card fraud for ostensibly noble reasons and airplane travel for a teen with a compromised immune system and no driver’s license. It’s not just a matter of suspending disbelief: the viewer must turn off one’s sense of rational logic.

The film is at its best when it stays on more durable storytelling turf — first love. We get a palpable sense of the heady excitement, the awkwardness, the simple thrills that accompany that rush of affection and hormones.

Stenberg and Robinson play it just right, fully committed to their roles — equal parts dewy dreaminess and wry humor — mostly communicated through dual panes of glass. We believe their happy surprise when Maddy asks Olly after their first tender kiss, “Is it always like this?” and he replies simply: “It’s never like this.”

“Everything, Everything” gets several things wrong, but it’s admirable in the way it easily embraces diversity and rings true in its depiction of the first blush of love.

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Jennifer Garner Joins Nick Robinson’s ‘Simon vs. the Homo Sapiens Agenda’

Read on: Variety.

Jennifer Garner is in final talks to join the cast of Nick Robinson’s coming-of-age film “Simon vs. the Homo Sapiens Agenda” for Fox 2000. The studio began developing “Simon” in October after it picked up movie rights to Becky Albertalli’s 2015 book about a gay teen who has not come out to his classmates. When… Read more »

First Look: ‘Hunger Games’ Star Amandla Stenberg in ‘Everything, Everything’ (Watch)

Read on: Variety.

A trailer has dropped for “Everything, Everything,” the first leading role for “The Hunger Games” alum Amandla Stenberg. Based on the book of the same name by Nicola Yoon, Stenberg plays a hermetic illness-struck 18-year-old, kept in her home by her mother (Anika Noni Rose), allegedly for her safety and health. But, as shown in the trailer, it’s hard… Read more »