Navigating self-discovery regarding one's sexual orientation can be a difficult journey, particularly when uncertainties linger. However, this comedy-drama from Stephanie Allynne and Tig Nataro struggles with believability given the current social climate. Dakota Johnson portrays Angelino Lucy, a 32-year-old who is unsure of her sexuality. She doesn't seem interested in men, as evidenced by her relationship with Ben (Whitmer Thomas), but she’s also not certain if she’s drawn to women. A significant portion of her time is spent with Jane (Sonoya Mizuno), her close straight friend who is preparing to move from Los Angeles to London for a job—a situation that evokes mixed feelings in Lucy. When Lucy finally confides in Jane about the possibility of being attracted to women, she tries to arrange a date for her friend before she leaves for England. Yet, Lucy repeatedly holds back, seemingly apprehensive about what might happen. This is where the film’s central issue lies: it simply doesn't ring true. Had this movie been made—or set—40 years ago, when acceptance of different lifestyles was more challenging, it likely would have felt more authentic. But in today’s world, it falls short. It might be easier to accept if Lucy lived in a secluded, conservative town, but she resides in Los Angeles, where embracing alternative sexualities is practically a requirement for living there. Lucy's drawn-out hesitations become tiresome, and it's understandable why Jane would lose patience with her. This problem is worsened by Johnson’s lackluster performance, which comes across as irritating rather than convincing. The film’s humor also feels somewhat weak, aside from the comedic moments during cameo appearances by LGBTQ+ figures like Sean Hayes and Nataro himself, who is genuinely funny as a detached New Age retreat leader. Ultimately, the movie could benefit from more of these unconventional elements—along with greater overall realism—to succeed. Considering Nataro’s reputation for outrageous comedy, this project feels surprisingly restrained and conventional. The film's release during Pride Month was predictable, but it’s disappointing that it isn’t a stronger offering. LGBTQ+ cinema has evolved considerably over the years, and this film feels like an outdated echo of earlier works in the genre. We’ve encountered similar stories before, but the community deserves something more original—and better overall—at this point.

Source on TMDB