The issue of death, and how it is processed in life, is a widespread theme that has inspired countless stories. There is always something intrinsically fascinating – and if you ask me, morbid – in the idea of being aware of our own mortality; and exploring these confrontation issues can be a very interesting task. Even so, being a rich subject also means that much similar territory has been exploited before, and a sure hand is needed to deliver something that feels unique. Unfortunately, Then Came You does not seem to differ from the many paths that similar stories have traced before.
A dramatic comedy about first love, adolescence and predictable death that only has in its favor the fact of being self-conscious at times. The film starring Maisie Williams, Asa Butterfield and Nina Dobrev is entertaining but nothing memorable.
Then you came summary
Under the same star played a romantic story, a story of coming of age and a story about friendship, all at once, even the issue of cancer was going to the background. Then came You are locked exactly in the subject of the disease and feel repetitive and dependent on the element preventing a more original story or a better fusion and execution of the genre.
A story with good intentions
Although the direction has no inspiration, the script by Fergal Rock is probably the biggest obstacle in the film. The concept is to see two characters with opposing views that evolve into stronger people in the end; It contains predictable rhythms of history that struggle to feel different. Calvin and Skye occupy the types of typical characters: the artistic loner and the energetic but damaged dreamy girl, and nothing in the script is freed from those stereotypes. The problem is that it is frustrating to see that on the one hand history refuses to fall into the typical impossible love story (but once it draws two types of characters that we have seen dozens of times.
Their friendship does not seem to have a natural progression either, which makes their dynamics feel much more superficial. In fact, the awkward discomfort of Calvin when he is with the hyperactive Skye at the time of meeting is prolonged throughout the relationship and although in the end they are best friends it is hard to believe that such a link really exists.
Maisie Williams at the service of a superficial role
Williams is clearly a talented young woman, as we could witness during her eight seasons in Game of Thrones. One appreciates the level of energy that paper provides, and it is quite fun to watch it go from fun to melancholy. It is a pity that his character only touches the surface of these emotions, but he does everything possible so that he can sympathize with his Skye. Butterfield, however, is an actor with whom I feel increasingly frustrated when he plays another character who is incredibly shy, is isolated and tries to get out of his shell; his Calvin has the same gestures and records of Ottis in Sex Education. He plays this character in a similar key that we have not only seen in other films but in practically all the roles he has played throughout his filmography. There is nothing new in its monotonous delivery and its presence was the most irritating. There is also little chemistry between him and Williams, which is another detriment of the film.
Outside these two leaders, there are actors who can assume roles that offer very little characterization. Nina Dobrev plays a call called Izzy who gives herself to a growing romance with Calvin, in a fight to identify why she could be attracted to a guy so uncharismatic and much smaller than her (in the movie they are trains years apart, but they look ten). Again, it’s fine in a role that demands very little. The only people in this cast that really make an impact are Ken Jeong and Briana Venskus, who play a couple of friendly police officers who sympathize with the plight of the protagonists. They are disposable characters but they agree with an incredible amount of comic relief that was much appreciated. Smile every time you see them and they are by far the best and most memorable elements of this movie.
At the end of the day, there is nothing offensive in this movie, but your worst sin is how tasteless it feels. Certainly, there is an attempt to tell a moving story about pain and friendship, and occasionally you can see some sweet and endearing moments. However, everything is delivered fairly flat and that causes friction in the final result. The actors vary from charming to inexpressive, but nobody really elevates the material significantly. There are definitely interesting stories that far outweigh Then Came You that we could summarize as a forgettable story, unambitious but certainly entertaining.