Rating 4/10
Ah so how does one endeavor to take a lackluster story and make it interesting? Tell it in a non-linear fashion of course! It is the last ditch attempt—a desperate Hail Mary—to inject life into a drama that fails as a traditional narrative. We Live in Time is the latest example where a screenwriter fragments an account to obfuscate a generic plot.
Tobias Durand (Andrew Garfield) works at a breakfast cereal company. He’s about to finalize his divorce but doesn’t have a pen. While out buying one, he’s struck by a car driven by Almut Brühl (Florence Pugh). Tobias discovers she’s an acclaimed chef at a Michelin-star restaurant, and she invites him to her establishment. There Tobias shares the truth about his impending divorce. They begin an intense courtship, moving in together and meeting each other’s families. Yet, their bond is challenged by diverging life goals, particularly over having a family. Then, Almut is diagnosed with ovarian cancer.
Director John Crowley (Brooklyn) reveals Almut’s cancer diagnosis at the beginning, so that’s not a spoiler. Hardship is often used to immerse us in the main characters’ struggles. This weepie doesn’t exploit the emotional weight of illness in the traditional way that Love Story or The Notebook did to transcend their melodramatic trappings. Here it feels like just another gimmick—something screenwriter Nick Payne (The Sense of an Ending) randomly added in a feeble attempt to add dramatic importance.
Countless films—Blue Valentine, Before Sunrise, (500) Days of Summer, La La Land, etc.—have effectively presented a romance fraught with adversity. The challenges in We Live in Time lack the depth or profundity to make us care. We’re watching two privileged, attractive millennials navigate a carefully curated world of polished cinematography. Stuart Bentley’s soft, natural lighting bathes the celebrities in an antiseptic glow, showcasing flawless faces and impeccable wardrobes that feel more suited to a high-end J.Crew ad. This antiseptic aesthetic hinders the effort to portray a sincere human experience.
A couple of scenes heighten the drama. An awkward baby delivery in a gas station is the highlight. However, a series of careless behaviors—from reckless driving to self-centered interactions—make the characters difficult to root for. Florence Pugh and Andrew Garfield bring their capable talent and star power to the screen, but even they can’t redeem the film’s shallow characterizations. In the end, We Live in Time is a forgettable stab at a tear-jerker, one that is neither timely nor timeless.
10-22-24