Look Both Ways
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‘Look Both Ways’ Review 2022

Look Both Ways is streaming on Netflix now

Look Both Ways

A 2022 American romantic comedy-drama called Look Both Ways is directed by Wanuri Kahiu and written by April Prosser. Aisha Dee, Danny Ramirez, David Corenswet, Nia Long, Lili Reinhart, Luke Wilson, Andrea Savage, and Nia Long are among its cast members. The movie premiered on Netflix on August 17, 2022.

About Movie

In the case of nothing else, the new Netflix creation Look Both Ways gives the Groundhog Day equation a truly necessary break. For some time, a Groundhog-like time-circle situation was the go-to gadget for applying a light feeling of the fantastical to tales about decisions, destiny, and connections. There appeared to be no less than one time-circle film for each web-based feature: Palm Springs, The Map of Tiny Perfect Things, Boss Level, Naked, etc. Look left and right rather get from 1987’s Blind Chance, a Krzysztof Kieślowski film where a young fellow getting or missing a train makes equal timetables with totally different lives. (However, it was reenvisioned in America as the 1998 Gwyneth Paltrow vehicle Sliding Doors.) The fanning occurrence for Look Both Ways isn’t a train: It’s the result of a graduation-season hookup between school companions Natalie (Lili Reinhart) and Gabe (Danny Ramirez).

At the point when Natalie feels wiped out on graduation night, she takes a pregnancy test. In one course of events, it’s a phony problem, and she continues with her “five-year plan,” which includes moving to Los Angeles with her best bud Cara (Aisha Dee) and chasing after her fantasy about turning into an expert illustrator. On the other, Natalie is pregnant, and she moves to Texas to live with her folks (Andrea Savage and Luke Wilson), hurling herself entirely into co-nurturing with a close-by (yet not precisely sincerely involved) Gabe.

Like other “imagine a scenario where this happened unexpectedly” psychological test motion pictures, Look Both Ways is a chance to investigate the fancies of life decisions both major and minor. Yet, this film skims across the outer layer of those decisions, philosophizing with all the zip, power, and insight of a flavorless romantic comedy. Or on the other hand rather, two flavorless romantic comedies: One has Natalie doing an earnest and charmless “will they end up together or won’t they” with Gabe, the drummer in what has all the earmarks of being a Fun cover band. Different have her attracted to individual Los Angeles film-world expert Jake (David Corenswet).

Chief Wanuri Kahiu thinks of a visual development for the two-streets wandered film equation: She cuts the two courses of events together rapidly, accelerating the typical exchanging fragments structure. Infrequently, she allows pictures to overlay, making a sort of worldly split-screen. Expanding the recurrence of the leaps between courses of events loans Look Both Ways a speedy speed and a touch of musical unconventionality. The last option is something the film’s content egregiously needs.

The two storylines are somewhat convincing in a drama kind of way, however the scenes in April Prosser’s screenplay frequently feel like responses, as opposed to performances. Some plot occurs, then characters discuss how it affected them. It’s story as an especially shallow treatment meeting. At the focal point of this solipsistic worrying, Reinhart experiences difficulty selling either side of Natalie. Both the imaginative determined worker who requirements to propel herself past dissatisfaction and the harried mother attempting to keep a similarity to her old self has an overemphatic, glossy plastic quality, coming up short on even the expressive silliness of her work in the more strangely elevated air of Riverdale.

More perplexing is the developing doubt that the producers believe they’re handling a few extreme yet engaging issues, similar to the development of those capriciously represented five-year designs that appear to exist basically in films about individuals who plan excessively. The film’s cutesiness verges on offending at whatever point it goofs into more diligently decisions. In truth, there’s likely no point in griping about motion pictures not giving full thought to fetus removal when pregnancy is implied as the story motor. Assuming that one adaptation of Natalie closes her pregnancy, there is definitely not a conspicuous impetus for her disparate destinies.

Yet, it merits bringing up exactly how frail willed Look Both Ways is with regards to making sense of why, precisely, Natalie chooses to convey a spontaneous pregnancy to term at 22 and resolve to full-time mothering, apparently against her arrangements and wants. The film is excessively nauseous to have Natalie express any unequivocally favorable to life convictions, or to try and make reference to “fetus removal.” Say what you will about films like Juno being confounded as against early termination — essentially it has the guts to say the word without holding back. In a period where fetus removal freedoms are overall effectively enacted away, the misrepresentation that ending a pregnancy isn’t so much as a choice worth considering or examining feels like the very off-base directive for the occasion.

So Natalie shrugs her direction through a life changing occasion, making statements like “This should occur,” so she can have a few later scenes where she discusses being drained and stressed, or offer an empty talk to the delights of life as a parent. Also, the film is not any more mindful toward being a parent once it exists. Her youngster is treated as a plot gadget that is eventually not any more considerable than if she picked a specific work or a specific flat mate.

That may eventually be the film’s peculiar, empty point: Natalie is a similar individual in both of these dissimilar multiverses, similarly fit for following various ways and defeating various obstructions, to accomplish various types of individual fulfillment. The more downbeat side of films like Sliding Doors or Melinda and Melinda is streamlined trying to eradicate any feeling of polarity between the two streets in front of Natalie. The subsequent message, however, is shallow warm hearted cushion: “Childless or youthful mother, coupled or singleton, truly amazing line of work or side gig, it’s all pretty much tradable on this insane excursion we regard ourselves as on!”

Look left and right has nothing significant to say about any of the subjects it’s evidently tending to. In any event, when the producers get little subtleties right (Natalie’s movement references are right on the money and extremely persuading), the film is playing the strong companion to its crowd, congratulating watchers and discussing how everything occurs for an explanation, and it’ll all end up perfect. Then, a couple of moments later, it returns to the significant part: discussing itself.

Running time: 1 hour 50 minutes.

Look Both Ways

DirectorWanuri Kahiu 
WriterApril Prosser
StarsLili Reinhart, Danny Ramirez, Aisha Dee, Jaden Tolliver, Justin Donte
GenresComedy, Drama, Romance