The Netflix has a certain admiration for stories teen. And in fact, there are some very interesting ones like the trilogy written by Jenny Han. However, this type of water-sugar romance does not convince or convey emotion. The Kissing Booth (2018), written version and directed by Vince Marcello and distributed by streaming, it does not escape the standard of adolescent romance comedies, with the same dilemmas coming of age, cliché dialogues, pairs formed out of nowhere, collegial impasses, graduation and the dividing line drawn between different stages of life, where maturity - as expected - has taken its toll.
The film begins by telling a very simple story: Lee Flynn (Joel Courtney) and Shelly Evans / Elle (Joey King) have known each other since they were born. Their families are friends and the two shared several moments of childhood and early youth together. Shelly feels a small attraction to Lee's older brother, Noah (Jacob Elordi), but you know that the relationship could mess up your friendship and so she doesn't invest a lot in it. Even because of the rules that Lee and Elle created when they were younger to avoid future trouble. But then the title kiss booth comes up and the girl and the boy kiss in front of everyone, hiding the feelings of best friend Lee.
The film is not bad, but it is also not that good. Romantic comedy films, mainly about young romance, always happen from cliché events. Love is complex, but the cinematography represented is silly, a little futile. That is, there is no mistake in telling a story in this style, the problem is when you use only that within the plot.
The friendship between Elle and Lee (Bruno Ferian) is the main plot. The two have such a strong link that it leads them to create a list of rules based on their attitudes. This is something beautiful and it really happens with some teenagers in real life. However, it was not very well developed. Despite this, the highlight of the story is the protagonist, as she is a very strong young woman who deals with themes like kisses and sex very naturally, running away from the stereotype of “girl who needs to be saved by the prince”.
The big boy Elordi… failed! All the nuance we have in Elle was taken from Noah. It is an empty interpretation and as much as his personality changes as the plot develops, the viewer only feels appreciation for him because Elle does. An interesting point is the construction of the tent and the reason why it was made and with that we can understand that the focus is on the evolution of Elle and her desires and desires.
Despite this, production directed by Vince Marcello does not seek to treat adolescence through the same profound perspective as many films of the genre coming of age, but eats at the edge when approaching the teen hormonal transformation scenario, albeit loosely. Seeking only to fulfill the same goal as other teen works, she draws some good laughs and serves her purpose well, which would be that light Sunday program, without any commitment to something that is more complex. In addition, the production strives to bring some references from the seventies and eighties with its soundtrack, also rescuing the muse of John Hughes, Molly Ringwald (Gatinhas e Gatões), and the theme song for the classic Clube dos Cinco, 'Don't You Forget About Me'. Recalling that on July 17 the sequence opens. What can we expect from this continuation ... only Netflix will tell us.