Watching Shailene Woodley dither between two preposterously hot men — and steamily sample both — in “Endings, Beginnings” might not be the best choice for viewers whose libidos are on mandatory lockdown.
If, however, you’re into self-torture, then meet Daphne (Woodley), in her 30s and on an emotional and physical time out. Having abruptly left her job and her longtime partner for ill-defined reasons, Daphne washes up in the pool house of her married half sister, Billie (Lindsay Sloane). When not lackadaisically searching for a job, preferably at an arts-related nonprofit, Daphne wafts around in boho wear, looking gorgeously pensive and smoking like a fiend. She has temporarily quit drinking: Apparently, as flashbacks suggest, her previously profligate lifestyle was something less than fun.
Not to worry, though, because all of her self-imposed sabbaticals will end as soon as her gold lamé frock catches the eye of Frank (Sebastian Stan) at a party. A stubbly brooder and walking red flag, Frank specializes in lustful glances and angsty conversations. Add some flirty text messages and a playlist coyly titled “Music To Suffer To” and Daphne is happily leaping off the celibacy wagon. In more than one direction, as it happens: There’s also Opposite Frank, otherwise known as his best friend, Jack, a successful Irish writer played by Jamie Dornan. Anyone still in doubt about where Daphne’s heart should land needs to carefully reread the final clause of the previous sentence.
While Daphne teeters listlessly between security and passion, earnest lovemaking versus rip-them-off boinking, “Endings, Beginnings” grows marginally more substantive. Emotional and familial blanks are vaguely filled in (the script — by Jardine Libaire and the director, Drake Doremus — is partly improvised by the actors), but the movie delivers mood more successfully than information. The soundtrack is soothing, the photography (by the gifted Marianne Bakke) is soft and hazy, and the tone is pleasingly contemplative. The writing might be a tangle of limp clichés, but the actors — especially Woodley and the terrific Wendie Malick as Daphne’s mother — sweat to sell every line.
Similar to Doremus’s 2011 romance, “Like Crazy,” “Endings, Beginnings” noodles around with characters whose personalities and motivations remain frustratingly indistinct. By the end, Daphne’s journey of self-discovery may have pulled you in, but, if you’re anything like me, you’ll still hate her.
Endings, Beginnings
Not rated. Running time: 1 hour 50 minutes. Rent or buy on Amazon, iTunes, Google Play and other streaming platforms and pay TV operators.
Source: Movies - nytimes.com
