As a seasoned gamer who has journeyed through countless virtual landscapes and formed bonds with digital characters that would put Owen to shame, I must say that Lonely Planet falls short of delivering an immersive experience. The film is like a low-resolution, choppy video game where the characters lack depth and the scenery is nothing more than a series of postcard-perfect tableaus.
At the beginning of their friendship, Owen (Liam Hemsworth) admits to Katherine (Laura Dern) that he isn’t particularly fond of traveling. He explains that people often claim it will be a life-changing adventure, go somewhere new and unfamiliar, discover a different side of oneself. However, he says, when you get there, you don’t feel changed or exotic. Instead, you realize, you are still the same as you always were – just yourself.
Given its reputation, it’s only natural that Lonely Planet’s prediction about Owen will turn out to be incorrect. The journey they’re embarking on in Morocco is bound to alter their lives significantly, as it seems destined to plunge them into an unexpected whirlwind romance. However, if the Netflix depiction of this romance suggests a unique and extraordinary experience, the reality of witnessing it firsthand is far more ordinary. It’s neither unbearably dull nor exciting enough to hold one’s attention, instead, it lacks the necessary spark to leave a lasting impact.
To be honest, it’s not entirely accurate to say that Susannah Grant is misrepresenting Morocco. In fact, she does an excellent job of painting it as a desirable travel destination. Right from Katherine’s arrival at her writers’ retreat, we are led through one scenic view after another: lavish rooms adorned with intricate silks, ancient ruins steeped in centuries of history, charming streets with walls painted in shades of watercolor blue. The panoramic views from the kasbah, perched high in the hills outside Marrakech, are consistently breathtaking. As Lily, a fellow attendee and Owen’s finance-bro boyfriend, marvels to Owen: “You can see forever.
Sometimes, there are small hassles like car engine problems and brief illnesses from food poisoning. Yet, even these obstacles unexpectedly turn out to be fortunate events – in the sense that they seem too contrived to advance a romantic plotline, making me question if the travel guidebook I’m reading might secretly be a bizarre film about a hostess manipulating her guests’ relationships for mysterious and sinister purposes. (However, it isn’t. Unfortunately.)
Despite her urgent need to complete her novel, Katherine is compelled to leave her room when she realizes the faucet isn’t functioning and there’s no water. Similarly, due to poor cell service, Owen, who was only there to assist Lily, finds himself outside as well. From their first glance at each other, it’s evident they are attracted; they quickly form a strong bond that eventually grows into something romantic.
At first glance, it appears that Katherine and Owen are magnetically attracted to each other due to an immediate and indescribable connection they share. In reality, however, their common bond seems to be that they both find themselves in the company of annoying people, with Lily being one of them.
In a more relaxed rewording:
If not, they display a weak and unstable connection. Katherine’s character seems rather flat, yet Dern manages to add a down-to-earth appeal that grounds her. Owen’s character is less developed, possibly due to serving as a means for Katherine’s desires, and Hemsworth struggles to bring depth to the role. In essence, it’s a part that could have been performed by any other conventionally attractive male actor in Hollywood around his thirties.
The two characters appear pleasant enough, yet their interactions lack depth and passion. Their romantic scenes are underwhelming, often shrouded in darkness and awkward editing that leaves one questioning if stunt doubles were used. However, it’s worth noting that the film struggles with close-ups as well. At times, the actors seem overly polished due to lighting, makeup, or visual effects, giving an unnatural appearance.
However, the film appears to show only a partial commitment, as it barely explores the lives of Owen and Katherine beyond their relationship. While there are scenes after their journey, we hardly delve into their real homes or social circles outside of vacationing. In fact, it’s unclear where they reside, as the cities they live in are never mentioned. Even though Katherine’s writer’s block initiates this entire storyline, we don’t get insights into the genre or content of her books, merely that they are both critically and commercially successful.
In essence, “Lonely Planet” aligns with the recent surge of narratives featuring older women with younger partners, joining titles such as “The Idea of You,” “A Family Affair,” and the forthcoming “Babygirl.” Despite not explicitly tackling the age gap, it certainly fulfills the fantasy of encountering a captivating young individual who resonates on an intellectual, emotional, and physical level – something no other person has before.
However, the true desire it aims to satisfy is considerably more fanciful. It’s the dream of transforming into that “novel and intriguing” individual during extended travels, free from the bothersome realities of your everyday life consistently encroaching. Essentially, it’s a dream that you could perpetually reside in your vacation, perhaps even in the sunny, enchanting Morocco. In essence, it’s a fantasy of an eternal getaway.
Read More
Sorry. No data so far.
2024-10-11 02:25