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‘Finding You’ Review: Self-Assurance Is Lost and Found in Twee Romantic Comedy

A young musician spends a semester abroad in this gentle breeze of a film, whose uneven story is kept aloft by the uplifting lead actors.

By Courtney Howard

Courtney Howard

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Finding You

Don’t be fooled by the empowerment-sounding title of “ Finding You ”: The engine of writer-director Brian Baugh ’s romantic comedy isn’t driven by the woman herself, but by the men who are continually placed in power positions that directly inform her arc. Where it would have been nice to see the heroine unlocking her own potential, the film instead focuses on her finding an intercontinental romance with a dashing young man, life coaching from an unlikely male ally and a mysterious message from her deceased older brother. This not-insignificant miscalculation aside, however, effervescent performances from an ebullient ensemble make “Finding You” a palatable and compelling female coming-of-age tale.

As if beckoned by the siren call of the bubbly pop song on the soundtrack, violinist Finley Sinclair ( Rose Reid ) emerges from the depths of the subway, a seemingly confident young woman negotiating New York City’s frenetic hustle and bustle. But, as we soon find out during her botched audition at Manhattan’s prestigious music conservatory, she’s insecure when given the spotlight to perform. Her own critical overthinking is severely hampering her career ambitions. In an effort to get out of her head, she takes a semester abroad in Ireland just like her saintly, older brother Alex, who recently passed away, had done at her age.

The luck of the Irish starts rubbing off immediately on her flight as she nabs a seat in first class, unknowingly seated next to megawatt movie star Beckett Rush ( Jedidiah Goodacre ). His Cheshire cat grin, floppy brown hair and pervasive charms fail to impress her — that is, until they discover they’re staying at the same picturesque bed and breakfast in the quaint seaside hamlet of Carlingford.

But Finley is hardly the only one wrestling with inner conflicts. The “Game of Thrones”-esque fantasy franchise that Beckett is shooting is on its last legs, so he and co-star Taylor (Katherine McNamara) must keep up appearances in the media that they’re a couple to ensure the sequel’s success. His contracts are being renegotiated, which could have him monetarily set for life. This scheme has all been orchestrated by Beckett’s manipulative father Montgomery (Tom Everett Scott), who’s putting an intense amount of pressure on his son to sustain their lavish lifestyle.

Finley’s host family, the Callaghans, are also feeling the pinch. Nora (Fiona Bell) and Sean’s (Ciaran McMahon) business is on the line if word gets out that the major movie star is staying with them. Their boisterous, gregarious teen daughter Emma (Saoirse-Monica Jackson) is stressed that she won’t get asked to the big local dance. Town drunk Seamus (Patrick Bergin) has been written off by most people, but is hoping to prove his worth once again. Finley’s extracurricular activities bring her into contact with Cathleen (Vanessa Redgrave), a misanthropic nursing home patient who’s desperate to make things right with her estranged sister Fiona (Helen Roche).

Baugh, who adapts Jenny B. Jones’ novel “There You’ll Find Me,” keeps the hijinks strictly wholesome, embracing the more fantastical elements of the genre for a heightened, romanticized portrayal of Irish reality. There’s scarce drinking shown in the town’s pub, no bad language, and the budding romance is kept chaste — like the pair’s dinner for two where they play around with stunt harnesses on set, or when they inevitably share their first smooch. Beautifully crafted montages where Finley and Beckett visit tourist hotspots are especially beguiling. Drone shots moving over the town, the lush green Irish landscapes and the Cliffs of Moher are rapturous, like something cooked up by the tourist bureau.

Themes surrounding forgiveness, family and fidelity hover around the fringes of the picture, though the execution can sometimes be clunky, especially when it blindsides audiences with a faith-based message in the third act. And the film’s gender politics are problematic — not just that Finley can’t figure out what’s best for her unless a man encourages it. A notable portion of the film’s interpersonal conflicts are fueled by female jealousy, and instances like the catty underpinnings of Taylor and Finley’s barbed introduction and the motivation fueling the sisters’ squabble are grating as a result.

Carrying the heart of this material is no easy feat, but Reid and Goodacre deliver delightfully nuanced work. They transform hokey lines into sweet sentiments. Reid is captivating, capably leading with empathy and vulnerability. Goodacre is magnetic, exploring his character’s depths. The dynamite duo share great chemistry, highlighted when they’re caught in heated repartee. Meanwhile, Jackson stands out in her supporting role. Her controlled comedic bluster is best showcased in the sequence where she has a physical reaction (replete with hilarious full-body heaves) to dreamboat Beckett being in her kitchen.

Overall, the film’s philosophies about not overthinking things might strike a chord. It’s a nice reminder for many who’ve been carrying around anxieties and insecurities that stand in the way of their success. Just don’t expect many newfound discoveries when getting lost in this tale.

Reviewed online, Los Angeles, May 11, 2021. Rating: PG. Running time: 115 MIN.

  • Production: A Roadside Attractions release of a Nook Lane Entertainment, MK1 Studios production, in association with Red Sky Studios, Distinction Films. Producers: Ken Carpenter, Julie Ryan, Stephen Preston, Brian Baugh. Executive producers: A. Michael Roman, Julian Reid.
  • Crew: Director: Brian Baugh. Screenplay: Brian Baugh. Camera: Michael Lavelle. Editor: Chris Witt. Music: Kieran Kiely, Tim Williams.
  • With: Rose Reid, Jedidiah Goodacre, Katherine McNamara, Patrick Bergin, Saoirse-Monica Jackson, Tom Everett Scott, Vanessa Redgrave.

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Finding you, common sense media reviewers.

reviews on movie finding you

Pleasant romance about self-discovery has some drinking.

Finding You Poster Image

A Lot or a Little?

What you will—and won't—find in this movie.

Title implies finding love, but movie is more abou

Finley is a positive female role model. She's conf

Some pretend blood in a clearly fake movie-making

Primary story and subplot are about romance. A cou

Language includes "helluva," as well as U.K. slang

Mixed messages about drinking: photos of a main ch

Parents need to know that Finding You is a wholesome, Ireland-set romance based on Jenny B. Jones' YA novel There You'll Find Me that's really about finding yourself. While it's unquestionably about a young couple finding love, the elements are soft enough that it feels more like a family film with a…

Positive Messages

Title implies finding love, but movie is more about finding yourself in unexpected places with unexpected people. Dig deeper rather than make snap judgments about people's outward behavior. Gently delivered faith-based message that you're not alone; God is watching over you. Themes include integrity. Explores some of the unpleasant reality behind management of child actors and their lack of agency over their own lives.

Positive Role Models

Finley is a positive female role model. She's confident in her talent, and when she doesn't achieve a goal, she takes action to set herself up for success and try again. She's considerate, and her priorities are in the right place. She's not impressed by celebrity and money, keeps her focus on what truly matters. But she has a relationship with a young man who demonstrates narcisstic behavior until after they're involved. And some female characters are portrayed somewhat stereotypically: obsessed and gossipy, conniving and mean, jealous and possessive. No notable diversity in core cast.

Violence & Scariness

Some pretend blood in a clearly fake movie-making environment.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Primary story and subplot are about romance. A couple of kisses. Photo of shirtless man.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Language includes "helluva," as well as U.K. slang such as "shite" and "wanker."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Mixed messages about drinking: photos of a main character drinking and partying that lend to an image of desirability. An elderly musician is frequently drunk but is highly respected in the community. Several scenes take place in a pub. A man is said to have drunk himself to death.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Finding You is a wholesome, Ireland-set romance based on Jenny B. Jones' YA novel There You'll Find Me that's really about finding yourself. While it's unquestionably about a young couple finding love, the elements are soft enough that it feels more like a family film with a touch of romance (there are two kisses and some hand-holding). Lead character Finley ( Rose Reid ) is role model material: She's caring, thoughtful, and self-confident. But female characters are also portrayed somewhat stereotypically: obsessed and gossipy, conniving and mean, and jealous and possessive. Finley's love interest is a celebrity, and the story explores some of the unpleasant reality behind the management of child actors and their lack of agency over their own lives. Scenes take place inside a pub, a young character appears to be drinking in photos, and a well-respected musician is often shown drunk. Expect to hear some U.K.-specific profanity ("shite," "wanker"). The movie includes a faith-based element that feels authentic to the story, and characters demonstrate integrity. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

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Finding You Trailer

Community Reviews

  • Parents say (4)
  • Kids say (2)

Based on 4 parent reviews

A Rare Family-Friendly Movie!

What's the story.

Adapted from Jenny B. Jones' YA novel There You'll Find Me, FINDING YOU introduces viewers to violinist Finley ( Rose Reid ) after a failed audition for a music conservatory. In a quick pivot, she opts for a semester abroad in Ireland to clear her head and improve her musical skills. When movie star Beckett Rush (Jedidiah Goodacre), who's shooting a film nearby, becomes taken with her, Finely has to examine her priorities and decide what she'll risk for love.

Is It Any Good?

Call this a "starter romance": a sweet story that's low on lovey-dovey stuff and more about growing up. It's actually less romantic than many Disney animated princess movies, although Finley (Reid) is just a few degrees away from Belle in Beauty and the Beast : She's grounded and not interested in distractions from her scholarly pursuits. And the movie's "prince," Beckett, starts out much like Gaston: He's an arrogant man about town who's used to having admirers fall over him. But the more Finley allows Beckett into her life, like The Beast, the more we see him for who he is. That might make for an enchanting animated fable, but in a modern-day live-action film, it's a little troubling. Yes, digging deeper to look past people's facades is a great message. But these days, most parents usually hope that their kids will realize that if a potential love interest looks and acts like a narcissist, it's in their best interest to not get involved.

Finding You is full of discoveries, like a smartly assembled cast and the beauty of Ireland. It offers an escape for families longing to visit ancient lands with captivating castles and grass that's blindingly green. The subplot about a medieval, dragon-slaying fantasy film being shot in the castles near Carlingford is a clever use of the space. While not all of it makes sense, Beckett's dad/manager has tight control over the life of his son, which introduces elements of critical thinking for kids who might realize that fame and fortune have a price. Finding You works both for families seeking out faith-based films and for those who aren't interested. One of the movie's faith-based elements has a mic-drop moment, but it happens without a single line of dialogue and isn't jarring or forced. Bottom line? As a piece of entertainment, you're likely to find that you get more out of this film than you might have expected.

Talk to Your Kids About ...

Families can talk about the messages that Finding You sends about drinking . Are there consequences for drinking? Why does that matter?

Would you classify this as a faith-based film? Why, or why not?

Many films about self-discovery involve going on a physical journey. Why do you think this is? How does this film demonstrate that sometimes we know who we are, and it's more about finding the courage to be yourself?

What comment is the movie making on celebrity and celebrity-obsessed culture? Do you think Beckett's situation is similar to that of other celebrities whose careers began when they were kids?

How does Finley demonstrate integrity ? Is she a role model ? Why, or why not? Did you notice any stereotypes in the way characters were depicted?

Movie Details

  • In theaters : May 14, 2021
  • On DVD or streaming : August 10, 2021
  • Cast : Rose Reid , Jedidiah Goodacre , Tom Everett Scott
  • Director : Brian Baugh
  • Inclusion Information : Female actors
  • Studio : Roadside Attractions
  • Genre : Romance
  • Topics : Book Characters , Brothers and Sisters , Great Girl Role Models
  • Character Strengths : Integrity
  • Run time : 115 minutes
  • MPAA rating : PG
  • MPAA explanation : language and thematic elements
  • Last updated : March 31, 2022

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clock This article was published more than  2 years ago

Girl meets movie star in ‘Finding You,’ a surprisingly unaffected Y.A. love story

reviews on movie finding you

Based on “ There You’ll Find Me ,” a Christian Y.A. novel about a college girl healing from emotional wounds (while also falling in love), the film “Finding You” would seem, by virtue of the title change alone, to have shifted its thematic focus slightly. The original wording suggests a journey of self-discovery; the latter, a more straightforward voyage of romance on the metaphorical Love Boat.

And that is borne out in this tale of fluttering young feelings, whose theme of faith is — to the extent that it’s there at all — little more than a bay leaf flavoring the stew, but removed before serving: You can just taste it, but it’s not really there.

Finley Sinclair (Rose Reid) is an 18-year-old American college student and aspiring violinist who, after getting rejected from an audition for a prestigious music academy, turns to a semester abroad in Ireland, where she hopes to perfect her fiddling skills while staying with relatives in the small town where her deceased brother once studied. Upon arrival, Finley discovers a sketchbook that bro left behind, with a drawing of a grave marker: a broken Celtic cross, next to her scribbled name. What does it mean, and where is this cross? If the carving bears a message for her, such statuary exists in every cemetery in Ireland. The question hangs over the plot like a cloud.

It’s not the only one.

On the flight over, Finley happens to sit next to Beckett Rush (Jedidiah Goodacre), a hunky if slightly arrogant movie star making yet another one of his popular but pulpy fantasy flicks in the very town where Finley is staying — while coincidentally renting a room in her relatives’ bed-and-breakfast. Be still, Finley’s heart! “It would never work,” she thinks, bringing herself back down to earth.

Or would it?

Finley takes on the role of Beckett’s informal assistant, helping him to run lines and find his character, and improving his acting skills in the process by giving him reason to actually believe the mushy talk his character spouts to his co-star, Taylor Risdale (Katherine McNamara), an airhead actress with whom he has a shallow, on-again-off-again romance in the real world as well. Meanwhile Finley strikes up a friendship with an elderly nursing-home resident (Vanessa Redgrave) who’s estranged from her sister (Helen Roche).

Will Finley help the aged siblings reconcile before it’s too late? Will she ever find that cross and whatever message it holds? Will she be touched with the gift of true musicianship — courtesy of a homeless, drunk string virtuoso (Patrick Bergin)? And, most importantly, will she ultimately find true love with Beckett, even as she teaches him to follow his own bliss (meaning: pursue better scripts and finally dump Taylor once and for all)?

Uhhh . . . has it really been that long since you’ve been to the movies?

There are no real surprises here, except maybe one. It would never work, Finley warns us, and it seems she might as well be talking about this cornball movie. But thanks to something ineffable — Redgrave, leprechauns, moondust, or maybe just understated performances from two appealing protagonists — “Finding You” kinda, sorta does.

PG.  At area theaters. Contains some strong language and mature thematic elements. 115 minutes.

reviews on movie finding you

10 Great Political Speeches in Movies

Film Reviews

Finding You Movie Review

  • Finding You

Genre: Romance, Drama

Director: Brian Baugh

Cast: Rose Reid, Jedidiah Goodacre, Tom Everett Scott, Vanessa Redgrave, Katherine McNamara

MPAA-Rating: PG

Release Date: May 14th, 2021

reviews on movie finding you

The new teen romance Finding You has a quiet and gentle spirit that’s hard to turn away from. Set in Ireland, the drama focuses on a violin player who takes a semester abroad in hopes of changing her life. Written and directed by Brian Baugh, the plot covers familiar territory but has a charm all on its own.

The drama follows Finley Sinclair (Rose Reid), a young musician who just faltered at an audition. Taylor wants to attend a prestigious school but can’t seem to get out of her own way. She realizes she needs a change and decides to spend a semester abroad. She moves in with the same loveable but big-hearted family her brother lived with when he did the same thing.

On her plane ride across the ocean, Finley sits next to a charming but self-indulgent actor named Beckett Rush (Jedidiah Goodacre). As fate would have it, Beckett will be staying at the same place Taylor’s slated to stay at.

Of course, these two main characters dislike each other early on. Fortunately, the familiar concept works because the leads are committed to the concept and their antipathy towards each other never feels forced. They don’t actively hate each other. They just don’t like each other. While Reid plays the straight-laced character well, it’s the charming Goodacre whose charisma springs the plot alive.

Goodacre’s character Beckett is dealing with his own failings. The star of a series of films where he battles dragons, Beckett longs for a more typical existence. His father Montgomery (Montgomery Rush) manages him like a product, pushing for the press to portray him as a bad boy to boost his career. Despite spending much of his time in the countryside, Beckett appears in the press as a playboy in an on-again off-again relationship with his co-star Taylor (Katherine McNamara).

Much of the drama follows the two main characters but the story also offers a few great lessons about following your own dreams, seeing people for who they truly are (and not simply as a superficial level) and even forgiveness. In a small role here, Vanessa Redgrave co-stars as a grouchy woman who reportedly stole her sister’s fiance years earlier.

Like in Notting Hill  or the more recent My Week with Marilyn , this film touches on celebrities and how they are often defined by the press. By focusing on young people and specifically a burgeoning actor whose own father admits “His love life is his career,” Finding You offers some insights into young Hollywood and how stars are sometimes trapped by their fame.

Finding You has some weaker elements including a subplot about a cemetery stone that doesn’t work as well as it could. However, the film has charm to spare and the cast — especially Goodacre, who reminded me of a young Heath Ledger — seem to embrace the story’s warm-hearted personality. There are some familiar beats here but the romantic drama finds a way to succeed despite its flaws.

From Goodacre’s performance to its important life lessons to the beautiful Irish scenery, Finding You finds a way to stand out and will likely charm viewers who are willing to give it a chance.

Review by: John Hanlon

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‘Finding You’ Review: Rehashing ‘Notting Hill’ for Millennials, with Middling Results

Kate erbland, executive editor, film.

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Finley ( Rose Reid ) is an aspiring violinist who just botched her biggest audition ever. Beckett ( Jedidiah Goodacre ) is a Hollywood bad boy who is growing weary of fame. When fate (read: a winking flight attendant) seats them together on a cross-continental flight, sparks — quite predictably, mostly uncomfortably — fly. Such is the setup of Brian Baugh ‘s “ Finding You ,” a rom-com (with splashes of drama, care of death, cancer, and the price of celebrity, surely all stellar romantic hallmarks) that never met a contrivance it didn’t love, right down to its winking take on “Notting Hill.”

There’s nothing inherently wrong with using the cinematic grammar and usual expectations of a genre to attempt something new, but for every slightly inventive element in “Finding You,” Baugh piles on three times as many other bits of been-there, done-that plotting. For instance: Beckett’s prickly attitude toward his celebrity adds actual pathos to the film. He’s been famous for years, and his sniveling stage dad, played by Tom Everett Scott, has turned him into nothing more than a product to sell. Finley’s issues, however, are less pressing, mainly because they’re so often jettisoned in favor of wacky, silly, completely predictable pieces of rom-com complication (rom-com-com?).

At least the setting charms. After Brooklynite Finley bombs out during a conservatory audition, she opts to take a semester abroad in the small Irish village where her beloved big brother once spent his own magical season. Perhaps, she hopes, the idyllic place will unlock her musical potential and get her into fighting shape for one more audition in the fall. The County Clare locale is stunning, and even the ever-present soundtrack of anonymous pop jams that roll over badly lit montage after montage can’t change that.

After their plane-set introduction — Beckett is cocky and kind of rude! Finley really doesn’t care! — the pair are again thrown together at the local bed and breakfast where they’re both staying. Beckett is interested in the serenity of the joint (there appear to be no other guests) and Finley is just happy to temporarily join the same host family that loved her brother so many years ago (the Callaghans are silly, nosy, and really quite fun, especially daughter Emma, played by a delightful Saoirse-Monica Jackson). Whatever could possibly keep these two attractive young people apart? (Beyond, of course,  rom-com-com. )

reviews on movie finding you

Finley soon finds herself plunged into the minutiae of small-town life: she’s not only privy to Emma’s teen troubles, but also dispatched into helping the Callaghans run the B&B; she’s not only assigned to volunteering to help a salty older woman (Vanessa Redgrave, obviously wonderful), but the association involves her investigation of decades-old town gossip. Hell, she even snags a regular spot playing her violin (or, as her newly minted mentor, a lovable scamp prone to passing out on benches when he’s not working, demands she call it, a fiddle) at the town’s best pub. One thing Finley does not have time for: school, the alleged thing she came to do. (This is never an issue, there are zero repercussions, we see Finley in class exactly once, and then it’s back to everything  else.)

Oddly enough, it’s those sort of details that are harder to swallow than the film’s other big swings, including her halting romance with Beckett. So many plot points — she’s here for school, her beloved brother is actually dead, she’s worried about her violin playing, Beckett asks her to basically become his acting coach, Emma and the rest of the clan are nuts — are transparently heaped on “Finding You” to imitate the texture and tone of other rom-coms.

It’s not just a film that feels crafted by Mad Libs, but possibly by a middling A.I. with a soft spot for both “Notting Hill” and cinematic artifice that mistakes contrivances for drama and evolution. Instead of leaning on the chemistry between the budding couple at its heart — mostly chaste, still sort of sweet — “Finding You” is far more compelled by the possibility of finding, well, any other nutty complication it can possibly unearth.

reviews on movie finding you

Viewers familiar with Baugh’s other work, including “I’m Not Ashamed” (a biopic about Rachel Joy Scott, the first victim of the Columbine school shooting), will likely be able to sniff out some of its other, more understated inspirations, including Jenny B. Jones’ contemporary religious YA novel “There You’ll Find Me.” Jones’ book focused more heavily on Finley’s crisis as one of  faith,  and an undercurrent of vague spirituality does still run through the film, though it’s mostly reduced to the cross-finding scavenger hunt that peppers the story. (This might also account for, again, the mostly chaste nature of Finley and Beckett’s romance.)

There are brief moments of magic: Finley and Beckett’s frequent field trips afford them time to charm each other against lush Irish backdrops, Beckett’s troubles with fame shine an unexpectedly prescient light on the movie-making world, and Finley’s bond with crotchety Mrs. Sweeney (Redgrave) is both amusing and heartfelt. But even those flashes of sweetness and smartness are stuck in between increasingly odd twists and tropes, eager to play up the “Notting Hill” of it all without actually doing the work to make it stick. Most love stories don’t look like the ones we see in the movies, and “Finding You” proves that doesn’t have to be a bad thing at all.

Roadside Attractions will release “Finding You” in theaters on Friday, May 14.

As new movies open in theaters during the COVID-19 pandemic, IndieWire will continue to review them whenever possible. We encourage readers to follow the  safety precautions   provided by CDC and health authorities. Additionally, our coverage will provide alternative viewing options whenever they are available.

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Finding You

As charming as it is long, Finding You , the new movie from cinematographer-turned director Brian Baugh is packed with plenty of good intentions and awkward cliches. And that’s part of the problem.

Adapted from the Jenny B. Jones' 2011 YA novel titled, There You’ll Find Me , Baugh ’s film is about Finley Sinclair (YA film ingenue Rose Reid ), a young music student struggling to find her passion for playing the violin with hopes of getting into a prestigious New York music school.

She finds it in Ireland during a semester abroad program. Complications arise though, when she also finds a love interest in the form of Beckett Rush ( Jedediah Goodacre , TV’s Chilling Adventures of Sabrina ), a popular young movie star trying to cope with his own set of struggles.

The two meet on the airplane on their way to Ireland and wouldn’t you know it, they happen to be staying in the same hotel! They don’t quite hit it off right away with Finley playing hard to get and Beckett pouring on his boyish charm. But as the story plays out, the couple form a relationship, fall in love, fall out of love, address some problems, and fall back in love. End of story.

To be honest, it is more complicated than that. Way more complicated. Too complicated, in fact, as numerous subplots, diversions, distractions, and too many unnecessarily busy personal relationship problems muddy what should have been a quaint little love story set in the gorgeously photographed Irish countryside.

Finding You

Finley also meets Seamus (veteran character actor Patrick Bergen ), the town drunk who, when not playing music in the pubs, is sleeping on the local park benches, yet turns out to be the most genuine inhabitant of the entire quirky little Irish burgh. And guess what instrument he plays? You guessed it, the violin (although he calls it a fiddle). I’ll leave it to you to guess where this relationship goes.

Other side plots, one involving Beckett’s controlling father ( Tom Everett Scott ) who drums up controversy on the “socials” to keep his son’s career relevant, and another concerning some drawings left behind by Finley’s late brother, do little more than pad the runtime.

Sure, Finding You is loaded with plenty of charm from the likable cast, beautiful cinematography, and features an infectious spirit that very nearly saves the entire thing. But Baugh ’s adaptation tries to cover too much ground and is never quite clever enough to elevate the proceedings above its made-for-TV sentiments. With a tighter script and at least one of the subplots trimmed, this romantic drama about finding the courage to be true to oneself could have hit many more high notes. As it is though, Finding You never quite finds its groove.

2/5 stars

Finding You

MPAA Rating: PG for language and thematic elements. Runtime: 115 mins Director : Brian Baugh Writer: Brian Baugh Cast: Katherine McNamara, Jedidiah Goodacre, Vanessa Redgrave Genre : Romance | Drama Tagline: Trust the Journey. Memorable Movie Quote: Theatrical Distributor: Roadside Attractions Official Site: Release Date: May 14, 2021 DVD/Blu-ray Release Date: Synopsis : After an ill-fated audition at a prestigious New York music conservatory, violinist Finley Sinclair (Rose Reid) travels to an Irish coastal village to begin her semester studying abroad. At the B&B run by her host family she encounters gregarious and persistent heartthrob movie star Beckett Rush (Jedidiah Goodacre), who is there to film another installment of his medieval fantasy-adventure franchise. As romance sparks between the unlikely pair, Beckett ignites a journey of discovery for Finley that transforms her heart, her music, and her outlook on life. In turn, Finley emboldens Beckett to reach beyond his teen-idol image and pursue his true passion. But when forces surrounding Beckett’s stardom threaten to crush their dreams, Finley must decide what she is willing to risk for love.

Finding You

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reviews on movie finding you


Where Lifestyle Cultures Blend

Review: ‘Finding You’ (2021), starring Rose Reid, Jedidiah Goodacre, Katherine McNamara, Patrick Bergin, Tom Everett Scott and Vanessa Redgrave

Arts and Entertainment

Anabel Sweeney , Brian Baugh , Ciaran McMahon , drama , Finding You , Fiona Bell , Helen Roche , Ireland , Jedidiah Goodacre , Judith Hoag , Katherine McNamara , movies , Patrick Bergin , reviews , Rose Reid , Saoirse-Monica Jackson , Tom Everett Scott , Vanessa Redgrave

May 28, 2021

by Carla Hay

reviews on movie finding you

“Finding You” (2021)

Directed by Brian Baugh

Culture Representation:  Taking place in Ireland and briefly in New York City, the romantic drama “Finding You” features a nearly all-white cast of characters (with one African American) representing the working-class, middle-class and wealthy.

Culture Clash:  An aspiring professional violinist and an action movie star, who are both American, meet on an airplane flying to Ireland, and she ends up becoming his love interest and temporary assistant while he films a movie in Ireland and has an on-again, off-again relationship with a co-star.

Culture Audience:  “Finding You” will appeal mainly to people who like watching predictable and banal romantic dramas with absolutely nothing imaginatively creative about the story.

reviews on movie finding you

“Finding You” was written and directed by Brian Baugh, but the entire movie looks like it came from the mind of a naïve teenager who’s read too many hack romance novels. The movie is based on Jenny B. Jones’ faith-based young adult 2011 novel “There’ll You Find Me,” which was much more about coping with grief than being a sudsy and trite romance. There isn’t one single minute of “Finding You” that isn’t predictable and/or corny.

And that’s okay for a romantic movie, if the characters and storyline are charming enough and the movie has great dialogue, engaging acting and intriguing situations. However, in “Finding You,” the would-be couple basically look and talk like Ken and Barbie dolls, while they and the other characters in the story try and act like this “fairtayle romance” wasn’t the result of the guy cheating on his girlfriend with the story’s “heroine.”

This infidelity is glossed over in a very hypocritical way in this preachy and maudlin story, which tries to make the female protagonist look like a noble do-gooder, even though she’s an active and knowing participant in this infidelity. Meanwhile, she meddles in other people’s lives in the most condescending manner, as if she’s a paragon of virtue and morality. But because this story is based on the unrealistic fantasy that things always work out for pretty protagonists in the end, it all adds up to predictable junk.

“Finding You” begins with protagonist Finley Sinclair (played by Rose Reid), who lives in New York City, feeling defeated because she failed in her audition to get into an elite music conservatory. Finley plays classical violin and she’s supposed to be about 18 or 19 years old, but all the actors in “Finding You” who are supposed to be in that age group look like they’re way past their teen years. Finley is feeling sad over being rejected by the school, but she plans to audition again in three months for the school’s next semester.

To help Finley get over her unhappiness, Finley’s mother Jennifer Sinclair (played by Judith Hoag) suggests that Finley do what Finley’s brother Alex did years ago: Spend a semester studying in Ireland. And just like that, Finley is on a plane to Ireland, where she will be staying in a small town that’s not named in the film. The student application process sure works fast in this movie for Finley to get accepted into the foreign exchange student program so quickly.

On the plane, something occurs that happens only in a movie: A flight attendant chooses Finley, out of all the people on the plane, to get a free upgrade to the first-class section, just because there’s an empty seat, and the flight attendant thought that Finley might like to sit there. Of course, Finley says yes. And, of course, some viewers will roll their eyes at this “too good to be true” moment.

Finley dozes off in this first-class seat. And when she wakes up, she’s startled when she notices that her head had been accidentally resting on the shoulder of a good-looking stranger sitting next to her who wasn’t there when she first sat down. You know where this is going to go, of course. The man sitting next to her is about her age. And he happens to be a movie star. And this is the scene where there might as well be a big sign flashing, “Meet Cute Moment Alert!”

This movie star is an American named Beckett Rush (played by Jedidiah Goodacre), and he’s slightly amused by Finley being embarrassed at waking up with her head on his shoulder. She makes a sincere apology, but Beckett thinks that she’s one of his star-struck fans who deliberately planned to sit next to him on this plane. Beckett tells Finley that he doesn’t want to call attention to himself, so he tells her to wait until the plane lands before he can give her an autograph or photo.

Finley is mildly insulted by his arrogance, because she doesn’t really know or care about who Beckett is and why he’s famous. Beckett smirks and thinks that she’s lying. He can’t believe that she doesn’t know who he is. He mentions that he’s going to Ireland to film a movie, while Finley says she’s going to Ireland as a visiting student. The cliché banter continues. And then Beckett says one of the movie’s many cringeworthy lines: “You know, you look really beautiful when you admit that you’re wrong.”

On the plane, Finley just happens to be reading a celebrity gossip magazine and is flipping through it when she sees a photo spread of Beckett partying in a hotel suite, in various states of undress. It looks like the type of photos that someone at the party sold to the magazine. Finley looks at the photo spread with some disapproval. Beckett frowns and says, “You know, I didn’t like that article either.”

The plane lands in Ireland. Finley and Beckett go their separate ways—but not really, because you know they’re going to see each other again in the most sickeningly cute coincidence possible. Before she leaves for the host family home where she’ll be staying, Finley notices a gaggle of gushing young female fans surrounding Beckett at the airport, just in case it wasn’t immediately clear to everyone that Beckett is a teen idol.

The Irish family who’s hosting Finley is the same family who hosted her brother Alex when he studied in Ireland for a semester, about six or seven years earlier. The family has recently turned their home into a bed-and-breakfast lodging, and they’re desperate to get good reviews. The host family consists of married couple Sean Callaghan (played by Ciaran McMahon) and Nora Callaghan (played by Fiona Bell) and their teenage daughter Emma Callaghan (played by Saoirse-Monica Jackson), who is (to no one’s surprise) a huge fan of Beckett Rush.

How much does Emma adore Beckett? She has photos and posters of him plastered all over her bedroom walls. And only photos and posters of Beckett. She doesn’t just adore him. She’s obsessed. You can imagine how Emma (who’s about 15 or 16) reacts when she finds out who’s staying in her parents’ bed-and-breakfast home.

Finley finds out when Sean and Nora have a messy mishap in the kitchen while they’re making breakfast for their very special guest. Sean and Nora don’t want their guest to see them with their stained and disheveled clothes, and they don’t want to delay serving him by changing off into clean clothes. And so, they ask Finley to serve this “mystery guest” his breakfast.

The guest is Beckett, of course. And when Finley and Beckett see each other again, they have that “What are you doing here?” moment before Beckett assumes that Finley stalked him there. She denies it and asks Beckett what he’s doing at a modest bed-and-breakfast place instead of staying at a fancy hotel. Beckett says it’s because he’s trying to avoid fans and paparazzi, and no one would suspect him of staying at this bed-and-breakfast place.

Emma practically faints when she sees Beckett. Sean and Nora tell Emma and Finley to keep it a secret that Beckett is staying there. Sean and Nora want Beckett to give good word-of-mouth reviews to the bed-and-breakfast, and they think that will only happen if they protect Beckett’s privacy. But, of course, Emma can’t keep it a secret, and she tells a few of her friends at her high school.

Finley tries to act like she’s not impressed by Beckett, and she says she doesn’t trust Beckett because she thinks he’s a playboy. But everyone watching this movie knows that she will eventually fall for Beckett. For quite a while, Beckett can’t seem to remember Finley’s name and keeps calling her other names that start with the letter “f,” especially Frankie. When someone you’re attracted to can’t remember your name, that’s supposed to be charming? Only in a dumb movie like this one.

Finley is curious enough about Beckett to look him up on the Internet. And it’s there that she sees that Beckett has an American actress girlfriend named Taylor Risdale (played by Katherine McNamara), whom he’s known since they were both child actors. Beckett and Taylor are described as a hot “it couple” by the media, and there’s a lot of news coverage about many aspects of their relationship.

Beckett’s main claim to fame is starring in a movie series called “Dawn of the Dragon,” which is depicted in “Finding You” as a very cheesy movie version of “Game of Thrones.” He’s in Ireland to film one of the movies in the “Dawn of the Dragon” series. Taylor is Beckett’s co-star/love interest in this “Dawn of the Dragon” movie, so she’s in Ireland too. Of course she is.

One stereotype that “Finding You” thankfully doesn’t have is portraying Taylor as completely jealous and vindictive. It would be easy to do when the love triangle part of the story starts to happen. Instead, Taylor is nice to Finley, even when it becomes clear that Beckett is attracted to Finley and has been hanging out with Finley more than is appropriate when he already has a girlfriend who’s nearby.

The seduction starts with Beckett showing up one night at Finley’s room to ask her if she could help him rehearse his script lines. At first she says no, but then she changes her mind. The first time Beckett reads lines with her is when Finley feels a real attraction to him. They almost kiss and then turn their heads away in embarrassment, as you do in a formulaic romantic movie like this one.

Beckett convinces Finley that he needs her to keep helping him with his lines, so he “hires” her as his assistant, even though he never pays her. At one point, Beckett starts to describe Finley as his “acting coach,” which is even more ludicrous. It’s all just an excuse for Beckett and Finley to spend more time together. Everyone knows it but Taylor, who is predictably the last to figure out that Beckett and Finley are falling for each other.

Beckett’s domineering manager also happens to be his father. Montgomery Rush (played by Tom Everett Scott) is a stereotypical, money-hungry “stage dad,” who’s a failed actor and is using his son Beckett to live vicariously through him. Montgomery (who is not married and there’s no mention of Beckett’s mother) has been pressuring Beckett to sign a five-movie, seven-year deal for “Dawn of the Dragon” spinoffs.

However, Beckett is reluctant to sign this lucrative deal because he wants to be known for more than just the “Dawn of the Dragon” movies. Montgomery doesn’t take Finley too seriously because he thinks she’s just another one of Beckett’s flings. Montgomery is essentially the main antagonist in “Finding You.”

Taylor becomes the story’s other antagonist when she thinks Beckett should sign the movie deal too. It turns out that Montgomery has been behind the leaks to the media about Beckett and Taylor’s relationship, so that Beckett’s name is kept in the news. Taylor knows that Montgomery has been manipulating the press in this way, and she doesn’t mind at all. In fact, she encourages it. On paper, Taylor and Beckett seem like a “perfect” couple, but Taylor is depicted as too shallow for Beckett, and he’s starting to see how incompatible they are.

Beckett only starts to see how much of a dead-end relationship he’s in after he meets Finley, who’s not dazzled by his celebrity status and encourages Beckett to be his own man, not the person Beckett’s father wants him to be. Viewers are supposed to believe that because of Finley, Beckett starts to feel like he wants to experience more “normal” things, because he’s been an actor since he was 7 years old. Beckett has a high school degree, but he never went to a graduation ceremony and he never went to a prom because he was too busy working. And he thinks he might want to put his actor career on hold to go to college.

As Finley and Beckett start to spend more time together, she opens up to him about her goal of becoming a professional violinist and about a tragedy in her past, because the heroine in a story like this always has to have a tragedy to make her look more sympathetic. Finley’s tragedy is that her brother Alex died shortly after he got back to America from Ireland. One of the reasons why she’s in Ireland is to pay tribute to him and try to heal from her grief over his death.

Unbeknownst to Finley and her family, Alex left behind a sketch book of drawings and poems at the Callaghan home. Finley finds out when Nora gives the book to Finley shortly after Finley arrives in Ireland. Nora explains that she didn’t feel right about mailing this book to Finley’s family because Nora feared it might get lost in the mail or possibly sent to the wrong address. And so, Nora kept the book for all of these years.

In the sketch book, Finley sees that Alex drew a very unusual stone crucifix that looks partially broken at the top. It looks like the crucifix is part of a gravestone in a graveyard. And so, Finley becomes determined to find this crucifix, which she assumes is somewhere in Ireland. She’s sure that when she finds this crucifix, there will be a special meaning that Alex would want her to get out of this discovery. Yes, it’s that kind of movie.

Emma’s high school has a snooty mean girl named Keeva (played by Anabel Sweeney), who was cast as an extra in Beckett’s movie. Keeva’s only purpose in “Finding You” is to brag about being in Beckett’s movie, act like a catty snob about it to Emma and other people, and then get her comeuppance when Beckett starts paying attention to Finley. Emma acts like an overeager puppy dog around Finley, to the point where she calls Finley her “sister.” And therefore, Emma feels like a Beckett Rush “insider” when Finley inevitably gets closer to Beckett and confides in Emma about her dates with Beckett.

There’s also a subplot of Finley being assigned to visit a senior citizen at a nursing home, as part of her school’s “Adopt a Senior” program. And, of course, she’s assigned to a grouchy and bitter loner, whose name is Cathleen Sweeney (played by Vanessa Redgrave), who doesn’t want to have any visitors. Cathleen is very rude to Finley in their first meeting and she orders Finley to leave.

Finley tries to get assigned to someone else, but the nursing home supervisor who’s in charge of the “Adopt a Senior” program tells Finley that Finley can’t change her assigned senior. Finley can’t quit the program either, because an essay on her “Adopt a Senior” experience is required for her to pass whatever student class has this “Adopt a Senior” program. And so, in a very contrived situation, Finley and Cathleen have to spend time together, even though they don’t like each other very much in the beginning.

What does Finley do to pass the time with Cathleen? She reads books to her. And the reading list is laughable because it’s so odd. First, Finley reads Jane Austen’s classic “Pride and Prejudice.” And then she reads Stephenie Meyer’s young adult vampire novel “Twilight.” And that rate, Finley might as well start reading this crabby old lady some “Fifty Shades of Grey” too. Finley doesn’t, but you get the idea of how weird and random it is that “Finding You” has Finley reading “Twilight” to a senior citizen.

And because “Finding You” has to fill up the story with more treacly melodrama, Finley finds out that Cathleen (who is widowed with no children) has been a longtime outcast in the town. It’s because years ago, when she was a young woman, Cathleen married the wealthy man who was engaged to Cathleen’s sister Fiona Doyle. Cathleen and her sister Fiona have remained estranged ever since. Cathleen eventually left her husband, and he was so heartbroken that he drank himself to death, as the story goes in the town. The townspeople have blamed Cathleen for this man’s death and consider her to be heartless and evil.

Finley finds out this story from Nora, after Finley looks in Cathleen’s desk drawer and sees a stack of unopened “return to sender” mail that Cathleen sent to Fiona, who is Cathleen’s only living relative. Finley asks Nora who Fiona Doyle is and why Fiona is returning Cathleen’s mail unopened. Nora is also one of the townspeople who has a negative opinion of Cathleen.

Because Finley is very nosy, she decides she’s going to track down Fiona and try to “fix” this family rift. And there’s a “race against time” aspect to this intrusiveness because of a reason that’s very easy to predict for an old person in a nursing home. It’s also easy to predict that there’s more to the Cathleen/Fiona story than the townspeople’s gossip.

Finley should be the last person to judge other people’s love triangles, because she’s gotten herself involved in a messy love triangle too, but this movie tries to embellish it in the most hypocritical ways. While Finley acts so self-righteous to other people about their lives, she’s sneaking around and dating Beckett (and yes, they eventually kiss) while Taylor is still Beckett’s girlfriend. Beckett is cheating on Taylor with Finley, and neither Beckett nor Finley seems to feel too guilty about it.

But being a knowing participant in infidelity doesn’t fit the “innocent ingenue” narrative for Finley that this movie tries to push on the audience, so this cheating scenario is depicted as Beckett finding true love with Finley, while he’s in an “arranged” relationship with Taylor. Never mind that he’s being dishonest with Taylor. Meanwhile, Emma and Finley breathlessly talk like giddly schoolgirls about Finley’s dates with Beckett. It all just leads to the over-used “redemption of the bad boy” narrative that so many of these stale romance movies have, with Finley being the one to “save” Beckett from his arrogant ways.

The movie shows Finley and Beckett spending time at a pub callled Taffee’s Castle. It’s here where a town drunk named Seamus (played by Patrick Bergin) hangs out, and he sleeps on a bench outdoors during the day. In a movie filled with stereotypes, it should come as no surprise that “Finding You” has the most predictable stereotype for a movie that takes place in Ireland: an alcoholic character. Fortunately, Seamus is the “jolly drunk” type.

And you can do a countdown to the expected scene of Seamus playing the fiddle with a band at the pub, Beckett whispering something to Seamus on stage, and then Seamus announcing to the pub that they have a special guest player in the audience, as Seamus demands that Finley come up on stage to play the fiddle with him and the band. Finley then shakes her head and protests until she reluctantly gets up on stage. She says she plays the violin, not the fiddle, as Seamus hands her a fiddle and tells her that a fiddle is practically the same as a violin.

And it’s here that viewers can predict that Seamus is in the movie so he can teach Finley how to play a musical instrument with her heart more than with her head. Yes, there are more scenes later of Finley and Seamus playing the fiddle together. It’s all so schmaltzy and unimaginative.

There are also a few scenes where Beckett spends time with Finley when she’s visiting with Cathleen. In one scene, Beckett is bizarrely dressed up as someone’s version of a 1960s hippie who looks like a reject from the “Woodstock” movie. It’s supposed to be Beckett’s way of charming Cathleen, who’s from the Woodstock Generation.

Beckett says some old hippie jargon to get Cathleen to like him. It’s very pandering and insulting to people’s intelligence. But in a stupid movie like this one, this manipulation works with Cathleen, who approves of Beckett and tells Finley that he’s a good man and a “keeper.” Finley doesn’t tell Cathleen that Beckett is cheating on his girlfriend Taylor by dating Finley.

Meanwhile, in a ridiculous movie like “Finding You,” while Finley is traipsing around Ireland with Beckett, spending time being his “acting coach”/assistant on and off the movie set, playing the fiddle with Seamus, searching for that mystery crucifix, reading books to Cathleen, and trying to force Cathleen’s estranged sister Fiona (played by Helen Roche) to reunite with Cathleen, at no time is Finley actually seen in any classes or doing any studying. It makes you wonder why the filmmakers made Finley an American student who’s supposed to be enrolled in an Irish school, when she just really acts like an American on holiday in Ireland.

The acting in this movie is unremarkable, even with the great Vanessa Redgrave in the cast. She plays a very cranky character in the movie, so she might not have had to do much acting, since most Oscar-winning actors would be cranky too if they ended up in this type of schlocky movie. As for the “fairytale” couple in this story, Goodacre is much more believable and expressive in his role as Beckett than Reid is as Finley, who is as bland as bland can be.

However, there’s only so much actors can do when the dialogue ranges from basic to silly. The scenery in Ireland looks nice in the movie though. But that’s not enough to watch “Finding You,” when there are plenty of better romantic dramas that are set in Ireland. (Some examples: 2007’s “Once,” 2010’s “Ondine” and, for a New York City-Ireland connection, 2015’s “Brooklyn.”) Ultimately, “Finding You” sticks to an over-used formula to such a lazy degree that it makes the movie irrelevant and forgettable.

Roadside Attractions released “Finding You” in U.S. cinemas on May 14, 2021.

  • Cast & crew
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Finding You

Finding You

  • Violinist Finley Sinclair travels to an Irish coastal village to begin a semester of studying abroad. At the B&B run by her host family, she encounters gregarious, persistent heartthrob movie star Beckett Rush.
  • Talented aspiring violinist Finley meets Beckett, a famous young movie star, on the way to her college semester abroad in a small coastal village in Ireland. An unexpected romance emerges as heartthrob Beckett leads uptight Finley on an adventurous reawakened and she emboldens him to take charge of his future--until the pressures of his stardom get in the way. — RS
  • When her audition for an elite New York conservatory goes awry, aspiring violinist Finley Sinclair travels to a quaint Irish coastal village for a semester-abroad program. At her host family's B&B, she encounters charming heartthrob movie star Beckett Rush, who is there to film the next installment of his medieval fantasy-action franchise. As Beckett's free-spiritedness helps Finley find the heart and passion that were missing from her music, Finley's honesty inspires Beckett to pursue his true passion, and they discover that a change of scenery might be all they need to find themselves--and true love.

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Finding You Review : This light-hearted drama is predictable and clichéd

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ishayadav 261 246 days ago

Nice reviews

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"a romantic irish love story".

reviews on movie finding you

What You Need To Know:

Miscellaneous Immorality: Deceit but rebuked.

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FINDING YOU is a romantic drama about a young woman who doesn’t do well in a violin audition, so she decides to follow the follow the footsteps of her brother to a semester abroad in Ireland, where she meets a young movie star shooting a movie. FINDING YOU is a fun, wholesome movie with a strong Christian worldview about finding love, looking for peace in the Cross of Christ, and finding purpose and meaning in life beyond fame and fortune, but there is light, brief foul language and implied drunkenness.

Finley isn’t able to pass an audition even though she has worked day and night practicing the violin. She decides that maybe she could use a little inspiration and follow the footsteps of her brother to a semester abroad in Ireland.

When Finley gets on the plane, she sits next to Beckett, a Hollywood heartthrob who is shooting a movie in Ireland. Beckett seems conceited and egotistical, so Finley doesn’t give into his charm. Seeing as the two are in a small town, they soon run into each other. Finley’s host family owns a Bed and Breakfast. It so happens that Beckett also likes to stay in this quaint, under the radar B&B.

One day, Finley is asked to take out breakfast to a guest, and she walks out and realizes the guest is Beckett. It’s clear now that Beckett and Finley will be spending a lot of time together, out of proximity. Beckett also realizes he could use Finley to help him run his lines. In exchange, he agrees to take Finley around the countryside in his car. Reluctantly, Finley agrees, since she would rather focus on her studies and violin, but she does want to spend time seeing the countryside.

While Finley practices her violin, she finds a sketchbook from her late brother. One drawing has Finley’s name written by a cross. Finley longs to find the meaning of this cross and searches for the peace her brother had during the final days of his life.

FINDING YOU has a strong Christian, biblical worldview about finding peace in the Cross of Christ. The main character has to learn to love and help others, even if they don’t love you back. Another character has to learn to find purpose and meaning in life beyond fame and fortune.

FINDING YOU is a fun, wholesome movie about finding love. The movie is entertaining throughout and will make audiences want to go to Ireland. The storyline itself is a typical romance and the acting isn’t award winning, but FINDING YOU is enjoyable overall. MOVIEGUIDE® advises caution for younger children because of brief light foul language and implied drunkenness.

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Finding You parents guide

Finding You Parent Guide

The thoughtful script is predictable but the film manages to be charming nonetheless..

In Theaters: Finley goes to Ireland to study music and regain her confidence after a failed audition. On the way, she meets Beckett, a movie star...and they discover the Emerald Isle together.

Release date May 14, 2021

Run Time: 115 minutes

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The guide to our grades, parent movie review by donna gustafson.

Finley Sinclair (Rose Reid) needs to find herself. After failing her audition, the aspiring violinist decides to take a semester and study abroad in Ireland. She hopes the lush green landscape will help her grow her musical talent and the coastal breezes might blow away her self-doubts.

Her bad luck seems to change the moment she decides to leave New York City, beginning with an offer to take a spare seat in first class for her international flight. Then she fortuitously finds herself sitting next to Beckett Rush (Jedidiah Goodacre), a child-star-turned-leading-man in a series of rather cheesy blockbuster films. Although Finley isn’t quite as impressed with the handsome celebrity as he thinks she should be, the two exchange some judgmental banter until the plane lands and they part ways knowing they will never see each other again.

Of course, there wouldn’t be much of a story here if there wasn’t some drama too. Most of the subplots deal with people making assumptions about others, rather than looking beyond the surface. One of these, featuring a crusty old woman (played by Vanessa Redgrave), is particularly poignant. Another, about the town drunkard (Patrick Bergin), teaches everyone, including Finley, the difference between a violin and a fiddle.

Unlike many movies in this genre, Finding You contains only a smattering of sexual references about how Beckett spends his off-hours and the relationship he has with his beautiful co-star (Katherine McNamara). The male idol is pictured shirtless on occasion, and some kisses are exchanged. Other content is also light, with just a few, mild swear words and social drinking at a pub. Violence makes it to the screen when Beckett plays a dragon-slaying adventure hero on set.

Although the thoughtful script is predictable, it is delightfully embellished by gorgeous scenery, picturesque Irish landmarks and music that will leave you both wanting to jig and contemplating your deepest sorrows. Viewers seeking a charming escape will find exactly what they came for.

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Donna Gustafson

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Finding You Rating & Content Info

Why is Finding You rated PG? Finding You is rated PG by the MPAA for language and thematic elements.

Violence: Death and grief are talked about. Characters visits old cemeteries – one finds them fascinating, the other creepy. A character with scientific curiosity holds a wriggling earth worm. Movie stars film scenes where they battle fire-breathing dragons with swords, bows and arrows. A fake wound is shown. An angry woman yells and makes threats. Characters are mobbed by fans and paparazzi. A character threatens to hit reports with a stick. Abusive and manipulative relationships are discussed.

Sexual Content: A tabloid features pictures of a shirtless male celebrity drinking and hanging out with scantily dressed women. Affectionate kissing and embracing are shown. Some mild sexual refences are made. Characters make plays for another person’s love interest. Jealousy, grudges and spite are depicted. A sexual slang words is used.

Profanity: Infrequent use of mild profanities, scatological slang, terms of deity and name-calling.

Alcohol / Drug Use: The film includes a character who is depicted as a drunkard – he often sleeps in public places and asks for money. Characters drink at a pub and at social occasions.

Page last updated October 2, 2021

Finding You Parents' Guide

When Finley first meets Beckett, she tells him she knows all about his “type”. Why does she make this assumption? What other characters in the movie are also being assessed by their outward appearances? What do you think the script is trying to say about judging others? As part of her schooling, Finlay is assigned to visit an elderly woman in a seniors’ home in order to understand Irish culture. What do you think you would learn about culture if you talked to a person from an older generation? Are there other benefits from doing this kind of service? One character tells another, “You never know where you are going to be tomorrow.” How might contemplating that statement change the choices you make? Would you take more risks? Does knowing there could be a tomorrow make you consider consequences? Another character says, “Joy and sorrow are linked together like day and night.” What do you learn from this insight?

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In keeping with the themes in this movie, a character reads the books, Pride & Prejudice and Twilight – both have been made into movies. The animation Tangled also features characters that feel manipulated and misjudged by others. Leap Year is another romantic drama set in Ireland.

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This overlooked 2023 disaster movie is Netflix’s newest hit right now. Here’s why you should watch it

Blair Marnell

When Netflix recently added The Abyss to its lineup, there probably weren’t very high expectations for it. After all, it’s not James Cameron’s The Abyss from 1989. Instead, it’s a Swedish disaster film that is now one of the most popular movies on Netflix .

Tuva Novotny grounds the movie with her performance

  • It’s a family drama first

The disaster unfolds realistically

That’s the thing about Netflix’s algorithm: It’s very unpredictable. More often then not, seemingly random films are suddenly more popular now than they ever were when they hit theaters. In this case, American audiences would have never seen The Abyss if it hadn’t suddenly arrived on a large platform like Netflix . But if you’re on the fence about checking it out, here are three reasons to watch The Abyss on Netflix.

Disaster movies only work if the audience cares about the characters who are in jeopardy. And the best films in this genre need at least one performance at the heart of the movie that the audience can gravitate toward. In this movie, that’s exactly what Tuva Novotny provides. Aside from her turn in Annihilation , Novotny is largely unknown in American cinema despite a long list of credits in her home country. That works out in favor of The Abyss , because it’s easy to accept her as Frigga Vibenius, the security manager of the Kiirunavaara mine and a woman whose family life is disintegrating.

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For all of the turmoil in her personal life, Frigga is very good at her job. She treats the unfolding disaster seriously, and Frigga even gets to be the hero that her town and her family need. And Frigga does it without becoming some cartoon movie hero. She’s simply someone who steps up when she has to.

It’s a family drama first

There’s something ironic about the way that the town is shaking itself to pieces while Frigga’s personal life is also in turmoil. She can do something about the former, but it’s a lot harder to handle the latter. Frigga has already split with her husband, Tage (Peter Franzen), and clashed with her daughter, Mica (Felicia Maxime), over the mine. The only one who offers Frigga any emotional support is her new boyfriend, Dabir (Kardo Razzazi), and he has no idea what kind of drama he just stepped into.

The one thing that unites this family is concern about Frigga and Tage’s son, Simon (Edvin Ryding, who appears in the hit Netflix show Young Royals ), who goes missing just as the town suffers the disaster that will finally destroy it. And before the Vibenius family can flee, they have to find Simon.

One thing is for certain: The Abyss is not a Roland Emmerich movie. The laws of physics are obeyed, and there’s an actual phenomenon behind the collapsing town. The owners of the Kiirunavaara mine are responsible because they overmined the structures beneath the city and destabilized the entire town of Kiruna. Now, rock bursts are tearing the town apart, and it’s happening more quickly than anyone was prepared for.

Of course, the entire reason why people watch disaster movies is to see the disaster unfold. And you will. It’s just not going to look like Independence Day or more recent American disaster flicks. That’s likely ebcause the budget of The Abyss was a lot less than Hollywood’s blockbusters, and practical effects outnumber any CGI trickery in the film. But in this case, less is more.

Watch The Abyss on Netflix .

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Blair Marnell

2023 was an unusually great year for movies, with each month of the year offering something new and exciting in virtually every genre from almost every distributor. From the slick dance moves of the killer robot M3GAN to the modern Greek tragedy in neon-colored spandex that was The Iron Claw, last year was a great time to be a movie fan.

It's only mid-February right now, and already that seems like a lifetime ago. Why are movies in 2024 so bad right now? There's the usual litany of excuses: January and February have always been a dumping ground for movies; the Super Bowl takes eyeballs away from the movie theaters, so studios are less inclined to release quality movies; and the rise of streaming has caused the threshold for what constitutes a good movie to drop.

Professional wrestling is a sport rooted in family. From the McMahons and the Harts to the Flairs and the Rhodeses, wrestling is a family business, always has been and always will be. In the 1980s, Fritz Von Erich and his five sons – Kevin, Kerry, David, Mike, and Chris – captivated the hearts and minds of fansof the Dallas-based World Class Championship Wrestling. The Von Erichs were billed as an all-American, hardworking family who stood up for justice and fought against evil. The gimmick worked as the Von Erichs quickly became wrestling royalty.

By the early 1990s, a once-gifted family fell prey to what some deem a "curse" and endured unspeakable tragedies. The rise and fall of the Von Erichs became the subject of The Iron Claw, written and directed by Sean Durkin. The A24 film received overwhelmingly positive reviews and did good business in theaters, grossing around $38 million on a budget of $15 million. Yet, The Iron Claw was shut out of the Oscars, SAG Awards, and the Golden Globes. The Iron Claw receiving zero Oscar nominations is wrong at this moment, but in five years, it will look even worse. Zac Efron has never been better

There is certainly no shortage of great American television, but if you're someone who finds yourself wanting to see what other countries are up to on the small screen, then BritBox is perfect for you. The streaming service has a range of British exports (often about crime) that will suit just about any palate.

Anyone who is familiar with British TV likely knows that British series are distinct from their American counterparts in several ways, chief among them being that the seasons are far shorter and shows can run for a long, long time. We've picked out three great shows on BritBox that are worth checking out, each of which will give you a feel for what the service can offer. The Fall (2013-2016) The Fall | Trailer [HD] | | Netflix

10 Movies Like Lord of the Rings to Watch If You Love Fantasy

Lotr did it best, but others did it too..

Connor Sheppard Avatar

Easily in the top three of the best book-to-movie series ever, The Lord of the Rings retains a long-time fanbase that varies between casual viewers and all-out lore obsessors. While many existing fantasy epics held similar themes and canonical mythologies (elves, dwarves, wizards, goblins, dragons, etc.), none of them utilized the existing tools quite as well as Tolkien.

Director Peter Jackson has been hailed by fans and crew/cast members alike for having stayed true to the source material, save a few key character changes (Faramir and Arwen) and removed events (Tom Bombadil and the Scouring of the Shire). Though this may enrage some superfans of the LotR books , Jackson succeeded in his mission to make Lord of the Rings one of the most critically acclaimed fantasy trilogies of all time, picking up 17 Oscar wins.

Needless to say, finding films that are similar to The Lord of the Rings movies is quite difficult, though I’ve done my best to compile this list of 10 movies like LoTR below.

Are your excited for more Lord of the Rings movies and shows?

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The Hobbit Trilogy

A fairly obvious starting point on the list, The Hobbit Trilogy carries multiple similarities that will likely entertain most LOTR fans – save the sticklers. Based on the prequel novel that started it all, a young hobbit named Bilbo Baggins (Martin Freeman) is unexpectedly whisked away by a curious wizard and a gaggle of hardheaded Dwarves to embark on the adventure of a lifetime. Retaining a large amount of the same source material, this trilogy is more zany and drawn out than LOTR, in some good ways and some not.

Willow (1988)

A cult classic in the fantasy realm, Willow remains a go-to for fans of general fantasy lore. After he encounters an abandoned child on the shoreside of his humble community, a mild-mannered farmer named Willow (Warwick Davis) embarks on a quest that challenges everything he knows about his world. As with Lord of the Rings, there are stellar representations of similar characters highlighted by memorable performances from Davis and Val Kilmer, who carry familiar Frodo and Aragorn traits.

There was also Willow TV series that came out in 2022, but it has since been removed from Disney+ .

Tolkien (2019)

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Through love, friendship, and war, the story of Tolkien is developed as the author writes his masterpieces that will be admired through the ages. Nicholas Hoult plays Tolkien as a young adult building his legacy through turmoil. While the events of the film aren’t exactly synonymous with the events of the trilogy, Tolkien provides insight into the life and inspirations of the man behind the iconic Middle-earth stories.

Read our review of Tolkien .

Legend (1985)

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Containing more classical themes of good vs. evil and damsels in distress, Legend features impressive aesthetics and practical effects ahead of their time. Fighting to prevent the eternal night from covering the world in darkness, Jack (Tom Cruise) must rescue Princess Lilli (Mia Sara) before she, too, is consumed by evil. While not the most memorable or best of Ridley Scott’s films , the adventure and action portrayed are still a wonder to behold.

Beowulf (2007)

Based on the classic literary poem , Beowulf expands upon the myth with striking gusto. Plagued by his past decisions, Beowulf (Ray Winstone) pays for the glorious kingdom he built with the blood of his people. With stunning animation created from motion-capture technology, the actors are visually represented in the best way possible to create a breathtakingly gruesome tale.

Read our review of Beowulf .

The Princess Bride (1987)

A tonally different tale that focuses more on true love, The Princess Bride retains themes of heroism, fantasy, and adventure that fans of LOTR are looking for. Separated from his love after being captured by pirates, Westley (Cary Elwes) returns after years a new man bent on reuniting with his dear Princess Buttercup (Robin Wright). As it is much more of a fairytale than LOTR, the grittiness that trilogy fans love is not present, but the story is still endearing for those with a sense of adventure.

Warcraft (2016)

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Based on the popular video game series World of Warcraft , the Warcraft movie capitalizes on its fanbase by creating a derivative story that long-time gamers can enjoy. As Orcs start to move into the human land of Azeroth, unlikely and unwanted alliances are formed out of desperation for survival. The world-building and animation are its greatest appeal, and LOTR fans will enjoy the mystical creatures and the battles between them.

Read our review of Warcraft .

Solomon Kane (2009)

Solomon Kane could be considered a distant cousin to Aragorn as far as heroism and badassery are concerned. Bound to a life of violence and a sure sentence to hell, Solomon Kane (James Purefoy) is forced out of his vow of peace to rescue a woman from an evil sorcerer. With heightened violence and carnage, Kane resembles characters like Aragorn, John Wick, and Van Helsing in the best of ways.

Stardust (2007)

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Though magic and lore is not the main focus of this fun and charming movie, Stardust is riddled with great characters, imaginative tribulations, and endless adventure. Coming from a small village on the border of a magical land, Tristan Thorn (Charlie Cox) embarks on an adventure to retrieve a falling star for the woman he loves — but encounters much more than he bargained for. The endearing and diverse characters of this movie make it great, with the added bonus of an exciting story of romance and fantasy.

Read our review of Stardust .

Eragon (2006)

Based on the highly acclaimed children's book series The Inheritance Cycle, Eragon is a fantastical adventure about the wonder of dragons. A young farm boy stumbles upon a dragon egg in his homeland of Alagaesia, beginning a journey of good vs. evil as Eragon (Ed Speleers) defends his land with the help of his dragon friend, Saphira. While the movie features similar fantasy themes and deep lore, it is ultimately far from the book-to-movie success LOTR was. That being said, there is an Eragon TV series eventually arriving on Disney Plus that could be promising.

Read our review of Eragon .

Connor Sheppard is an Oregon-grown culture writer for IGN with previous work on The Manual. Intrigued from a young age by pop culture and movies, he has developed into an experienced critic and consumer of all things media. From his time earning a bachelor's degree in digital communications at Oregon State University, he found a love for writing and appreciating specific actors and directors in the many films he watches.

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‘langue étrangère’ review: a tough and tender romance between two teen girls finding each other in translation.

The third feature by writer-director Claire Burger ('Real Love') co-stars Nina Hoss and Chiara Mastroianni as mothers of 17-year-olds on opposite sides of the French-German border.

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Berlinale Competition Lilith Grasmug and Josefa Heinsius in 'Langue Étrangère'

Crossing several borders at once, the coming-of-age romance Langue Étrangère leaps over state lines, overcomes language barriers and defies heteronormative boundaries to tell the story of two 17-year-old pen pals who fall for one another while visiting their mutual homes to brush up on their German and French, respectively.

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What’s fascinating about Burger’s approach to such well-trod terrain as the international romance (everything from Green Card to Spanglish to the recent Emily in Paris comes to mind) is how there seem to be few real cultural barriers left between the shy, inhibited Fanny (Grasmug), who’s from France, and the outspoken and political Lena (Heinsius), who’s from Germany. They’re both somewhat bilingual already, have spent time in the other’s country, and when they don’t understand the meaning of a certain expression they can always use a translation app to find it. Such fluidity also extends to their budding sexuality — they never discuss if they’re gay or straight, and they may be a little bit of both. For many of today’s cosmopolitan teenagers, the traditional boundaries we grew up with no longer exist.

The foreign language in Burger’s script, which she wrote in collaboration with Léa Mysius ( The Five Devils ), is therefore more of a psychological one: not grasping what the other is saying, even if you can translate the words themselves. Langue Étrangère is very much about Fanny and Lena reaching a deeper understanding as they try to survive one another’s families and wind up falling in love.

The contrast between the two is glaring: Lena is bold and has a rebellious streak, while the timid Fanny seems to be shaken by problems back home in France, where she claims she attempted suicide. A scene where their two classes meet via Zoom reveals where those problems may stem from, with Fanny’s French classmates mocking her as soon as they get the chance. It’s an uncomfortable sequence, as well as a telling one about the behavioral differences between the two countries. Burger also lands a few laughs when the kids are given the chance to ask the other class questions in the opposing language. (German question: “Why are the French always on strike? Don’t you guys like to work?”)

But Langue Étrangère is less about those differences than about the growing intimacy between the two girls, who spend a lot of time hanging out in Lena’s jacuzzi, creating a sexual tension that bubbles up when they take mushrooms at a party and engage in a three-way frolic with a boy — who seems to be there as a mere prop to get them closer together. Neither girl discusses her feelings aloud, because that’s the one language they can’t master, and Fanny heads back to France before anything is said between them.

Much of the second half hinges on the two girls searching for Fanny’s supposed hidden stepsister, who she claims is an anarchist involved in Strasbourg’s black block movement. Like many things Fanny says, it doesn’t seem entirely credible, at least to the viewer. But Lena is blinded by her own attraction and gets carried away in the search, which leads them to cut school and visit anarchist bars, creating more tension in Fanny’s home.

The movie gets increasingly political as the plot thickens, although the girls’ activism feels like another means to bring them closer together, even if Burger may have had more sincere intentions there. She’s better at depicting the jolt of emotions that hit Lena and Fanny when they can no longer ignore their feelings, leading to a finale where their respective barriers are dropped and the two finally manage to communicate clearly.

Shot in grainy handheld by Julien Poupard ( Les Misérables ), who uses a color palette of cloudy blues and grays, the film is very much a performance-based affair in which the excellent Grasmug and Heinsius do much of the heavy lifting. They’re well-supported by vets Hoss and Mastroianni, with the former providing the film’s one laugh-out-loud sequence when she completely loses it during a family lunch involving her ex.

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Piles of conjecture sit atop the core of this four-part tale, which actually works quite well as an extended family reckoning with the damage wrought by one seductive, destructive individual. Mordecai, a former college football player who washed up as a high school agriculture teacher, allegedly preyed on teenage girls, including those whose mothers he married. He was a brutalizing, demeaning control freak. He was exceptionally bad news, a poison to all who lived in his orbit, and as Barter contacts older family members, including her own grandmother (married to Jim) and mother (who got away as quickly as possible), you can feel some of the catharsis setting in — the pained, communal relief of acknowledgement, and finally speaking about the unspeakable. 

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Director Skye Borgman, who made the Netflix true crime mystery Girl in the Picture last year, essentially makes Barter the narrator of The Truth About Jim , and never suggests she is anything but reliable. This is certainly honorable. But the series never really delves into a subtext that lingers around the edges: obsession, and what it can do to the obsessed. Barter is cast as the noble truth-seeker, which is fair enough. But a more complicated and potentially richer portrait could have gotten inside her head and explored what it feels like to be someone who turns a wall into a crime corkboard and tracks down a Zodiac Killer expert in San Francisco. Dark obsession and serial killers , even suspected serial killers, go very well together (see David Fincher’s 2007 masterpiece Zodiac ). The combination is rife with thematic possibility as obsession takes its toll. But here, Barter is never portrayed as anything but a strong, determined seeker — again,  quite complimentary to the subject, but ultimately a little one-dimensional.    

The Truth About Jim walks alongside Barter quite competently, but it never makes that turn into creative subjectivity. We’re left on the outside, craning our necks, trying to get closer.          

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Critic’s Pick

‘The Taste of Things’ Review: Love, Loss and Loins of Veal

Juliette Binoche stars in an instant culinary classic that exquisitely captures the kitchen’s bittersweet blessing.

  • Share full article

A woman in a kitchen stands smiling while standing in front of a boiling pot.

By Alissa Wilkinson

At the center of everything good in the world is a bittersweet kernel: All things pass away. The grandest cathedral, the most vibrant painting, a beautiful harmony, a perfect aperitif — none of it will last forever. And all great love stories end, one way or another, in sadness.

This will break your heart if you think about it very long, as much with grief as joy. Yet somehow it’s also what makes life worth living. This conundrum lies at the heart of “The Taste of Things,” a magnificent culinary romance from the French-Vietnamese director Tran Anh Hung. The couple living the conundrum are Eugénie (Juliette Binoche), a brilliant cook, and the well-known gourmand she works for, Dodin Bouffant (Benoît Magimel). It is the late 19th century, and they live in an idyllic house in the French countryside, where Dodin entertains friends and visitors. The kitchen is the beating heart of the house.

Nothing matters more to Eugénie and Dodin than crafting exceptional meals, from simple omelets to the kinds of feasts that linger in memory for a lifetime. Nothing except, maybe, each other. They aren’t married, despite Dodin’s pleas over the past 20 years. Eugénie smiles enigmatically and shakes her head; she doesn’t wish to change anything. But it’s inevitable, in the end, that the autumn comes.

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The film premiered at Cannes with the title “The Pot-au-Feu,” named after one of its central dishes, a rustic meal of boiled meat and vegetables. In French, however, the title is “La Passion de Dodin Bouffant,” which is also the title of the 1920s novel on which it is loosely based (published in English under the name “The Passionate Epicure”). That novel features one of the most indelible characters in culinary fiction, a gourmand whom the author Marcel Rouff loosely based on the French culinary writer Jean Anthelme Brillat-Savarin, born in 1755. (Yes, the cheese is named for him.)

Brillat-Savarin is perhaps best known for his book “The Physiology of Taste: Or Meditations on Transcendental Gastronomy,” which tells you a little bit about him, as well as about the protagonist of “The Taste of Things.” His book has recipes, but really it’s an often funny rhapsody of awe at the joy allowed humans in the simple act of eating. Brillat-Savarin famously quipped, “Tell me what you eat, and I will tell you what you are,” an aphorism it’s easy to imagine Dodin trading with his friends around the dining table. In the eyes of men like these, food reveals character. For a host, a meal carefully constructed is evidence of his care for the guest as well as his self-image: Is he boasting? Pleading? Displaying his insecurities? Or inviting others to taste the divine? A guest’s willingness to dive with gusto into a meal prepared before them shows not just care for the host, but for the bounty the earth serves up.

And then, of course, there are the true artists, the chef and the cook. For them, the culinary arts are the highest expression of humanity because they are a product of everything that makes us human: time and attention, every sense, every sensation and, in the end, it’s entirely fleeting. Every good meal is a memory.

The gourmands of “The Taste of Things” are well acquainted with the culinary tradition of their time (somewhere in the late 19th century), discussing the pioneering chef Antonin Carême — who rose from a humble background to become one of the most important codifiers and innovators of grand cuisine in French history — as well as his protégé, Auguste Escoffier. “We live with the legacy of Carême,” Dodin tells his friends. “With Escoffier, we dream of the future.”

Dodin, however, is famous himself, enough to be called the “Napoleon of gastronomy,” a moniker he finds vaguely embarrassing. The envoy of the prince of Eurasia arrives at his home to invite him and his friends to dinner, but at that table they find a repast groaning with show-offy madness, flavors and wines and sauces and cuisines mixed willy-nilly. For Dodin, and Eugénie, this signals not good taste but no taste. No real gourmand would craft a meal like that. For them, the epitome of a great meal is its grace, the kind of thing that Eugénie embodies in her command of the kitchen. She is exceptionally intuitive, as masterly as a great painter.

Tran might well have painted “The Taste of Things,” its luminosity is so immediately attractive. At one point he serves us a perfectly poached pear, shot closely to emphasize its sugary succulence, then fades (a bit cheekily) into Eugénie, arranged like an odalisque, nude on her bed, a gift she is giving. Binoche seemingly glows from inside, a woman perfectly at peace with herself. Dodin tells Eugénie that St. Augustine said, “happiness is continuing to desire what we already have,” and looks at her gently. “But you,” he asks, “have I ever had you?”

He hasn’t. Eugénie is not a woman to be had. She is her own self, choosing with whom and when she will share herself — generous, but, having mastered her art, someone who practices it for the pleasure of it. The fleeting nature of the culinary arts is mirrored for her in the poignant passing of the seasons.

Like other members of the cinematic food canon — “Tampopo,” “Eat Drink Man Woman,” “Babette’s Feast,” “Big Night” — “The Taste of Things” is not just an excuse to look at food. The meals prepared in this movie signify something: a labor of love, a concept of contentment, the immense melancholy inherent in the making of something exquisitely beautiful that will be only a memory an hour from now.

Yet it isn’t not about the food, either. In a phenomenological way, “The Taste of Things” captures the joy of variety injected into mere existence: savory and sweet, hot and sour, juice and cream and astringency are not required for pure subsistence, but the rich range of taste we have created in our daily meals says something about human longings not easily put into words. This mystery, like love, is hard to parse: Though we know loss is entwined with the feast, we choose to savor it anyhow.

The Taste of Things Not rated. In French, with subtitles. Running time: 2 hours 25 minutes.

An earlier version of this review referred incorrectly to the director Tran Anh Hung. He is French-Vietnamese, not French-Cambodian.

An earlier version of this review in one instance misstated the time period in which the movie is set. It is set in the late 19th century, not the early 19th century.

How we handle corrections

Alissa Wilkinson is a Times movie critic. She’s been writing about movies since 2005. More about Alissa Wilkinson

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What's Love Got to Do with It?

2022, Romance/Comedy, 1h 30m

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What's Love Got to Do with It? is a standard issue romantic comedy in many respects, but a pair of appealing leads help make this love story more crowd-pleasing than not. Read critic reviews

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What's love got to do with it videos, what's love got to do with it   photos.

How do you find lasting love in today's world? For documentary-maker and dating app addict Zoe (Lily James), swiping right has only delivered an endless stream of Mr. Wrongs, to her eccentric mother Cath's (Emma Thompson) dismay. For Zoe's childhood friend and neighbor Kaz (Shazad Latif), the answer is to follow his parents' example and opt for an arranged (or "assisted") marriage to a bright and beautiful bride from Pakistan. As Zoe films his hopeful journey from London to Lahore to marry a stranger, chosen by his parents, she begins to wonder if she might have something to learn from a profoundly different approach to finding love.

Rating: PG-13 (Brief Drug Material|A Sexual Reference|Some Suggestive Material|Strong Language)

Genre: Romance, Comedy

Original Language: English

Director: Shekhar Kapur

Producer: Nicky Kentish Barnes , Tim Bevan , Eric Fellner

Writer: Jemima Khan , Jemima Khan

Release Date (Theaters): May 5, 2023  limited

Box Office (Gross USA): $75.0K

Runtime: 1h 30m

Distributor: SHOUT! STUDIOS

Production Co: The Searchers NV, Instinct Productions, Working Title Films, StudioCanal

Cast & Crew

Zoe Stevenson

Shazad Latif

Emma Thompson

Cath Stevenson

Shabana Azmi

Sumaira Khan

Oliver Chris

Nosheen Phoenix

Ben Ashenden

Asim Chaudhry

Nikkita Chadha

Farooq Khan

Iman Boujelouah

Yasmin Khan

Mariam Haque

Fertility Doctor

Rahat Fateh Ali Khan

Shekhar Kapur

Jemima Khan

Nicky Kentish Barnes


Eric Fellner

Sarmad Masud

Executive Producer

Ron Halpern

Joe Naftalin

Sarah Harvey

Katherine Pomfret

Remi Adefarasin


Guy Bensley

Film Editor

Nitin Sawhney

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A new free Google TV update could finally make finding fresh movies and TV shows less of a chore

A small, but useful change

Google TV homescreen with Quick Access row

If you’re an owner of an Android TV device with Google TV in the US, starting today you’ll get a brand new feature that will make finding your favorite movies and shows a lot easier. 

A new ‘Quick Access’ row has been added to Google TV’s interface, making it easier for you to find something new to watch, which is a real bonus if you own one of the best smart TVs that supports Google TV. 

The Quick Access row is currently being rolled out to users in the US, and can be accessed on Android devices like the Nvidia Shield TV but not Chromecast with Google TV, according to 9to5 Google .

Google’s Quick Access row allows you to browse new movies and shows across the best streaming services , without the hassle of switching between different apps. Therefore, you’ll be able to seamlessly preview new content on your favorite streaming apps right from the Google TV home screen. 

In the Quick Access row, there are featured buttons including ‘Play Next’, ‘Free Live TV’, ‘Top Selling Movies’, ‘Popular Movies and Shows’, and ‘Trending on Google’. The new row of control options means you can browse fresh content across multiple sections of the interface all from one place in the Google TV home hub. 

More streamlined TV interfaces

The addition of Google TV’s new Quick Access row is another sign that smart TVs are increasingly moving towards more curated interfaces for users. In February 2023, Google TV introduced four new content pages to make it easier for you to find what you want, including ‘Movies’, ‘Shows’, ‘Español’, and ‘Family’ pages – all of which help to avoid navigating individual apps to find content. 

We saw a similar update rolled out to Roku TVs in December last year that made it easier to find certain shows by adding new dedicated home screen destinations for specific types of content. However, unlike Roku, Google is limiting the availability of this new update.

According to Android Authority , Google TV’s Quick Access feature is only available in the US, and will be rolled out widely across the country over the coming weeks. We don’t know when or if the new feature will be available in regions outside the US, but we will be updating this article as more information is announced.  

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