Look Both Ways

4 / 10

Welcome to the meta-Netflix film

An easy-to-digest, lighthearted drama which uses an interesting concept of a two-way-multiverse between an unwanted pregnancy and the dream of becoming a 2D illustrator for a renowned animation studio in Los Angeles. The journeys of the fresh graduate Natalie Bennett (Lili Reinhart) are visually distinguished through the colors red and blue while we follow her unsurprisingly bumpy ride over the course of 110 minutes. On paper, Look Both Ways outlines Natalie’s potential lives in the near future and presents the challenges of early motherhood and the search for self-expression during the beginning of her career with sporadic, intentional overlapping of side characters. But several aspects (have to) sugarcoat both storylines.

The dialogues between Natalie and her best friend Cara (Aisha Dee) and her musical boyfriend Gabe (Danny Ramirez) are very cheesy, especially in the first third. On top of that, Gabe’s drumming looks out of sync and almost every scene has to be enhanced and closed out by a melodramatic underscore, sometimes nearly resembling Nils Frahm’s “Them” from the film Victoria. The acting performances are tolerable at best and annoying at its worst. Lili Reinhart plays the protagonist Natalie quite solid, but Danny Ramirez’ Gabe actually shows just three different mimics across the entire film: Stoic seriousness and bits of curiosity and happiness. There is more nuance to be found in the two rocks from Everything Everywhere All at Once, so this is quite a feat.

Perhaps it’s intentionally cringe-inducing, but Natalie’s parents devolve into a hysterical caricature of anxiety with an off-brand Steve Carroll (Luke Wilson from the vulgar satire Idiocracy) and her mother Tina (Andrea Savage). Furthermore, there is an off-brand Jamie Dornan (David Corenswet) who really believes in a live-action remake of Hayao Miyazaki's Spirited Away (nope, not in a million years) and becomes Natalie’s love interest during the career storyline with their obligatory relationship steps. At last, her best friend Cara serves as the reliable anchor during difficult times, while her character gets an add-on which feels totally thrown in with no further meaning for the remaining plot.

Kitsch, unsurprising, stale and uninspired – so much in this film feels recycled to fulfill genre standards and yet, the search for an artistic voice as a 2D illustrator accidentally creates a hilarious, new genre: The meta-Netflix film. During a meeting between the aspiring, professional illustrator Natalie and her employer Lucy Calloway (Nia Long), who she idolizes since she was a kid, a life-shaping conversation on behalf of the protagonist unfolds. Their exchange is so ridiculously close to Netflix’ current modus operandi that it dares to be written out. Keep in mind that this Natalie briefly steps into the shoes of the streaming giant.

Lucy: There’s definitely some skill there. Nice perspective, beautiful shading.
Natalie: Thank you.
L: But it feels a little bit derivative. Actually a lot derivative.
N: Okay, what do you mean?
L: Like you use an algorithm. You see, you’re smart. You have done the work. […] But it seems to me that you are drawing what you think you should draw, based on what already is. [...]
N: Okay, maybe you could help me find my voice.

As the conversation continues, I cannot help but laugh at this situation, because either Netflix has not realized by now that it should reduce its ridiculous investments into the most insignificant areas of its global, cinematic universe – there’s another 365 Days installment around the corner, ffs – or it’s a sign that it slowly puts the focus on better projects. Quality over quantity, it’s that simple. At this stage, Look Both Ways feels like an epitome of the streaming service’s lulling nightmare: A promising idea overlaid with sweet components, some of which feel lazily recycled to the point of unintended comedy. Take it easy, don’t get nervous and embrace the approaching joy and obstacles of your future – such a message fits well for a harmless afternoon flick, but more stakes – take the recent ruling of abortion rights for example – and a better supporting cast would turn this film into a solid adventure.

Review published on 18th August 2022.