Lily (Blake Lively) overcomes an abusive childhood and opens up a florist shop in Boston. She believes she's found true love with charming neurosurgeon Ryle (Justin Baldoni), but after they marry, she slowly discovers he's abusive, as well, and she's made a mistake.
When Lily's childhood boyfriend, Atlas (Brandon Sklenar), comes back into her life, it gives her a new outlook on what she thought she knew and wanted. She must decide if love alone can carry her marriage through.
REVIEW BY: Darren Zakus - 8/08/24
RATING 3.5 out of 5
It Ends With Us is an emotional and cathartic experience thanks to a tour de force performance from Blake Lively and an honest and intricate screenplay from Christy Hall adapting Colleen Hoover’s best selling novel that captures the complexities of domestic abuse, resulting in one powerful and moving summer romance.
I’m the first to admit that I am not the intended audience for this adaptation of Colleen Hoover’s best selling novel, but with Blake Lively in the lead role of Lily Bloom, it was a film I had to check out. The novel, originally published back in 2016, was met with positive reviews due to its depiction of domestic abuse and the relationships explored in it, but really took off in popularity back in 2021 when it caught the attention of the book community on TikTok. And after seeing the film, it is evident why this story resonated with readers and will no doubt do with movie goers this summer. With an impressive screenplay from Christy Hall, guiding the story and the audience through its complex themes and relationships, It Ends With Us finds an honesty that is certain to strike an emotional note with all viewers, while championing an excellent lead performance from Lively.
Domestic abuse is not an easy subject matter for many to talk about, let alone watch in a film. There are such complexities to the power dynamics and decisions faced by and made by those experiencing abuse from loved ones, but all of this is delicately handled in Hall’s screenplay. Hall, who made her feature film debut as a writer and director earlier this summer with the Dakota Johnson starring Daddio, flexes her expert writing abilities, and it ends up being the film’s secret weapon. While there are moments that are without question line for line out of Hoover’s novel (you can spot them easily as it feels like a different writer wrote them), Hall’s framing of the abuse allows the audience to experience everything as Lily is as the story unfolds. We get a sense of the confusion as she experiences acts of abuse (both physical and emotional) from her husband Ryle, the stories that she tells herself as she is not fully ready to accept what she is living with and break the cycle of abuse, and the impact of her father’s abuse on her mother that she witnessed growing up. Never for a second are the intricacies lost, while moments of romance and comedy are woven in, fully investing the audience in Lily’s journey. So when it comes to the film’s third act, Hall is able to deliver an emotional gut punch as Lily comes to terms with her situation, highlighting not only the strength of those who have survived abuse, but their resilience to take control of their life and forge a new path forward. It’s all handled with an honesty by Hall, never pushing the story into soap opera drama levels, instead allowing the emotions to develop naturally and with a raw intensity that will ensure the tears will be flowing and allowing audiences to leave the theatre feeling empowered and transformed by this story.
While there is no doubt going to be buzz around this film given the novel’s popularity, there is no question that everyone is going to be raving about Lively’s spectacular performance as Lily. As Lily, Lively delivers a powerful performance that captures Lily’s independence and strength in every scene, creating a character that you can’t help but fall in love with due to her spirited nature. There are moments where Lively will have you laughing and feeling the romance as her character falls head over heels for Ryle, but it’s when the film touches upon the domestic abuse that she truly shines. In these moments, Lively brings a steadfast resoluteness to Lily as she processes the traumatic events her character is facing, intermingling the childhood trauma caused by her father’s abuse of her mother, resulting in moments of true vulnerability that bonds the audience with Lily. You will cry for her as her character goes through the unspeakable inflicted upon her by the man who should love and protect her, but as the story progresses, but it’s the strength and perseverance that Lively finds in her performance that takes the audience on a journey with Lily, freeing both of them in the process. It’s not a stretch by any means to say that this is one of Lively’s best performances of her entire career, as she delivers one unforgettable and resonant performance that brings to life Hall’s wonderful screenplay and Hoover’s story.
There is no question that Lively is the star of the film, but she has an excellent supporting cast supporting her. Brandon Sklenar is entering his heartthrob era as one of Lily’s love interests, Atlas. He has a smooth and protective nature to him as Lily’s childhood love all grown up, an electrifying chemistry with Lively, and a natural charm that makes him the perfect co-leading man for a romance film. Plus, it doesn’t hurt at all that he is incredibly easy on the eyes. Jenny Slate turns in one of her best performances as Lily’s best friend Allysa, navigating the complex situation her character finds herself in as Ryle’s sister and Lily’s best friend with such compassion that you love her as the voice of reason that is highlighted in one of the film’s most emotional scenes, while delivering some of the film’s most memorable comedic moments. As the younger versions of Lily and Atlas, Isabela Ferrer and Alex Neustaedter both deliver great work and build Lily and Atlas’s backstory, while it was nice to see Kevin McKidd back on the big screen, even if his performance was giving me major flashbacks to his performance on Grey’s Anatomy opposite Sandra Oh’s Cristina Yang. The only weak link is Justin Baldoni, who also directed the film, as Ryle. While he captures the terror that Ryle inflicts on Lily with ease and the emotional manipulation he deploys to gaslight her, his portrayal of the character feels surface level and misses the complexities that turned Ryle into this man. It’s also hard for him to stand out when his romantic chemistry with Lively pales in comparison to Sklenar’s.
With Lively in the starring role, it comes as no surprise that her character’s costumes are absolutely stunning. It’s hard to believe that her character runs a small flower shop given the extensive wardrobe that she wears over the course of the film, making each costume absolutely chic and glamorous, even if it is as simple as plaid and jeans. And combined with great makeup and hair styling for Lively, the costumes and hair and make-up department on this film have truly outdone themselves. It extends to the supporting characters as well, but the camera loves to focus on Lively and her looks more than any other character. On top of that, the set design is great, especially the design of the Lily’s Bloom set which is the most dream-like and Instagram worthy flower store I have ever seen.
It may be August already, but It Ends With Us proves that there are still some great films to be released this summer. While it’s not going to be for all audiences, as husbands and boyfriends will dread a lot of it, or the subject matter too triggering, there is something transformative about this film. Its depiction of domestic abuse is raw and when combined with Lily’s arc over the film, results in one powerful trip to the theatre that is bound to resonate with audiences and create another box office hit. Led by a dazzling, vulnerable and moving lead performance from Blake Lively who delivers some of the best work of her career, bringing to life an exceptional screenplay from Christy Hall that elevates Colleen Hoover’s best selling novel, It Ends With Us instantly becomes a powerful that will have audiences reaching for the tissues throughout.