When the moment finally comes for Maddy and Olly to embrace as they cast off the restrictive shackles of their parents, the mood becomes tiresome with trying to find something more romantic for these characters to do. Their adventure takes them to Hawaii where they frolic at the beach, swim in the ocean and have the required moment of sex to seal the deal of them being all about each other.
But watching these scenes are not particularly engaging or romantic. With very little dialogue and most of the lines dusted off from the big book of romantic clichés, being around these two was both awkward and monotonous. Their relationship reaches a point where I felt I should probably leave, as they’re clearly not interested in being interesting for an audience. It almost felt as though all the inane and asinine dialogue was a special signal for the audience to finally exit so they can be alone.
Sure, there are some light laughs to be had and the actors deliver solid performances, but there’s also plenty of lost potential. Maddy spends all her time reading books, but we rarely hear her talk about any of them or use this accumulated knowledge in the outside world. Olly is supposed to be seen as a teen of dark thoughts, but the movie has so little time for him we’ll just have to take his word for it. You can forget about that subplot of Olly’s drunken dad and don’t even bother questioning if Maddy’s obsession with architecture will pay off.
The script does deserve some credit in that the illness of Maddy is discovered to be preposterous, as this movie is too simple minded to be that knowledgeable of blood disorders. I only wish this same logic was applied to lift a rather timid picture out of the tired teen romance doldrums. Maddy may leave her bubble, but we’re still stuck in the prison of this subgenre, despite slightly improved accommodations.