Charming stars can’t save ‘A Big Bold Beautiful Journey’ from vaulting ambition
Leads Margot Robbie and Colin Farrell had good chemistry in “A Big Bold Beautiful Journey,” our columnist writes. However, it wasn’t enough to rise above the movie’s confusing elements. Maria Masek | Contributing Illustrator
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The film “A Big Bold Beautiful Journey” – like its title – takes itself too seriously for its own good. Charming performances from superstars Colin Farrell and Margot Robbie can’t save the film from its vaulting ambition, ultimately feeling underbaked.
Director Kogonada’s (a pseudonym for his real name, Park Joong Eun) third feature-length film combines sci-fi and romance elements in an attempt to create a grand-scale drama. Carried by its lead performances and surprisingly wonderful cinematography, “A Big Bold Beautiful Journey” launches for the stars but lacks the fuel to reach them.
When his car gets booted, David (Farrell) is forced to rent a vehicle from “The Car Rental Agency” so he can make it to a wedding. The mysterious agency features two employees sitting at a desk in an empty warehouse, where only two 1994 Saturns are available to rent.
After meeting Sarah (Robbie) at the wedding, the two run into each other again at a Burger King when the GPS of David’s rental car — sporting a circular lens that resembles HAL 9000 — tells him to eat a fast-food burger.
Upon leaving, Sarah’s car, the other 1994 Saturn, won’t start. Since they live in the same city, David offers her a ride home. From there, the two embark on the titular journey.
The GPS directs them to random locations where magical doors lead David and Sarah to past events in their lives.
In an early scene, David returns to high school and relives his lead performance in the musical, “How to Succeed in Business Without Really Trying.” David appears 15 years old to everyone except Sarah and the film audience, making for a super cringeworthy moment when an adult David is rejected by his high school crush.
These past events aren’t consistent, adding to the film’s absurdity. In a different scene, David talks with his younger self, taking the place of his father. How are these moments decided? What are the rules? I don’t know. And frankly, I don’t care.
The real pitfall of “A Big Bold Beautiful Journey” is that its fantastical nature gets old by the end. Eventually, I stopped trying to understand the magic because it felt like a pointless chore. I crave to fit the pieces together during a mind-bending Christopher Nolan flick, but this movie failed to evoke much curiosity in me.
The film would’ve benefited from embracing its comedy further. Sarah delivered a few sharp-witted lines, but I hoped for more laughs. Although, I give Kogonada props for not committing to a routine rom-com.
By leaning into its sci-fi elements, “A Big Bold Beautiful Journey” strives to join the upper echelon of serious romances. However, it doesn’t have the depth or execution to be praised among romantic masterpieces like “La La Land” or “Before Sunrise.”
Despite the plot’s failings, Farrell and Robbie are delightful. A redeeming quality of the picture is their tremendous screen presence and solid chemistry. Both do an incredible job conveying the significance of the characters’ pasts, making you feel the weight of specific moments.
My favorite scene is when Sarah eats mashed potatoes and watches “Big” with her mother (Lily Rabe), who sees Sarah as 12 years old. Sarah, asking her mother to pretend she’s an adult, discusses her own romantic struggles. Thanks to Rabe’s heartfelt performance, this is one of the most memorable parts of the movie.
From the beginning, Kogonada and cinematographer Benjamin Loeb create a feast for the eyes. If the story bores you, there are plenty of symmetrical shots and vibrant colors to enjoy. The camera work caught my attention early on, when a bird’s-eye view showed David holding his umbrella in a rainy alleyway.
The soundtrack is also very complimentary to the film. Legendary composer Joe Hisaishi — known for his collaborations with the animation company Studio Ghibli — delivers a moving score. Laufey contributes a few poetic jazz-pop tracks, and Mitski covers Pete Townshend’s “Let My Love Open the Door” in a beautiful, stripped-down rendition.
It’s unfortunate that Seth Reiss’ script fails to match the caliber of Loeb’s cinematography, Robbie and Farrell’s acting or the soundtrack.
During one scene, David and Sarah sit atop a mountain overlooking the Earth, describing the experience as “strangely beautiful.” Despite being a bit unmemorable and outlandish, strangely beautiful is a fitting term for the film. The lows are balanced out by some tear-jerking highs.
