Review: Blake Lively Stars in Oddly Frothy Domestic Abuse Drama, “It Ends With Us”

The blockbuster 2016 novel by Colleen Hoover is given a glossy, impeccably groomed Hollywood treatment in this melodrama starring Blake Lively. She plays Lily Bloom, a visionary florist with a thriving business in Boston, an enviable Carrie Bradshaw-adjacent wardrobe, and a ridiculously attractive brain surgeon boyfriend (a frequently shirtless Justin Baldoni, who also directs).

For a film that dips its Manolo-clad toe into the murky waters of domestic abuse, it’s unexpectedly aspirational, almost frothy in tone. But perhaps that’s the point the film is laboring: spousal violence in a relationship is rarely broadcast to the wider world. Friends and family might be oblivious to the warning signs in a seemingly perfect partnership; even the victim can remain in denial.

In Lily’s case, a childhood front-row seat witnessing her father’s brutality against her mother sensitizes her to the pattern of violence in her own relationship. But even so, it takes the intervention of a former boyfriend, Atlas (Brandon Sklenar), before she realizes the gravity of her situation.

The film portrays Lily as a woman trapped in an idealistic bubble that gradually bursts. Her relationship with the charming and seemingly perfect brain surgeon becomes more complex as hidden layers of their domestic life begin to unfold.

The storyline captures Lily’s journey from denial to acknowledgment, depicting how childhood traumas can resurface in adult life. She’s a character deeply wounded by her past, which shapes her perceptions and reactions within her own toxic relationship. This intricate character development makes her both relatable and tragic.

From a directorial standpoint, Justin Baldoni approaches the subject matter with a certain level of sensitivity, balancing the bright, aspirational veneer of Lily’s life with the dark undercurrents of her reality. The film manages to maintain a dual tone—light and almost whimsical, juxtaposed with the grave issues of domestic violence and emotional turmoil.

Blake Lively delivers a nuanced performance, embodying Lily’s internal conflict and gradual empowerment. Her chemistry with Baldoni’s character is palpable, making the disintegration of their relationship all the more impactful.

What sets this film apart is its ability to depict domestic abuse not just as physical, but emotional and psychological as well. It’s a challenge to showcase this subtlety in film, where the tendency might be to simplify or dramatize for effect, yet the film strives to remain authentic to the source material by Colleen Hoover.

As Lily’s former boyfriend Atlas, Brandon Sklenar provides a kind of moral compass in the narrative, offering Lily an angle of hope and an alternative to her present state. His presence signifies a lifeline, a stark contrast to the turmoil she faces with her current partner.

Overall, the movie aims to resonate with those familiar with the nuances of abusive relationships, highlighting how easily the line between charm and manipulation can be blurred. It offers a look at how even outwardly perfect relationships can harbor dark secrets.

While the Hollywood treatment is glossier than the raw realities some might face, the core message remains poignant. It’s a reminder that the issues of domestic abuse and emotional manipulation can affect anyone, regardless of how perfect their life might look from the outside.

The story evokes a sense of hope and resiliency, advocating for the importance of recognizing one’s worth and the bravery it takes to escape a harmful situation. “It Ends With Us” serves as both a reflective piece and a cautionary tale, underlining the invisible nature of many abusive relationships.

In summation, “It Ends With Us” is more than just a melodrama; it’s a narrative filled with layered characters and a compelling storyline that challenges its audience to look beyond the facade of seemingly perfect relationships. The film stands as a substantial homage to Colleen Hoover’s novel, imbued with genuine emotion, conflict, and, ultimately, hope.

Source: Nicole Rivelli/AP