Film Review | Chemical Hearts (2020)

chemical hearts lili reinhart austin abrams richard tanne amazon prime kirsty sutherland

There’s a recurring motif across Chemical Hearts, framing emotions as biological functions and chemical processes, breaking them down into hormones and endorphins and not a lot more. The almost-medical dialogue sits awkwardly in the film, the occasional references seemingly only included to justify the title, but even if the idea had been engaged with more deeply it’s not a framing device I’m especially fond of. Applying a scientific sheen to heartbreak and loss, romance and affection, joy and grief doesn’t render those experiences any more profound – it just makes them distant. Chemical Hearts is never cold, exactly, but it certainly doesn’t offer the intensity of feeling it promises in its opening lines: its characters are observed at some remove, never quite brought to life by a script more interested how they’re able to feel than what they feel.

That sense that characters are observed rather than engaged with isn’t, however, entirely a result of awkward dialogue: it’s baked into the film on a conceptual level. Chemical Hearts is yet another story that centres a white male ‘everyman’ type, positioning him as the lens to distantly approach a young woman’s trauma. If it feels familiar, that’s because it is. Chemical Hearts adapts the novel Our Chemical Hearts, part of a recent wave of Young Adult fiction that borders on the voyeuristic, where the specific tragedy their teenage protagonists have suffered is largely immaterial to the plot beats that follow. It’s not that there isn’t space for a sensitive, thoughtful film about a teenager rebuilding their life after trauma – or, indeed, about someone on the periphery of that – but Chemical Hearts isn’t that film. To its credit, it’s never as exploitative as the worst of its genre can be, and there are moments of relative quiet and maturity whereChemical Hearts distinguishes itself from those it most closely resembles, but ultimately they’re just that: moments.

Wrote about the new Lili Reinhart film, which is out on Amazon Prime today. She’s very good in it – much like she’s very good in Riverdale, albeit getting the chance to demonstrate some different skills here – but the rest of the film around her is a little lacking. Or at least I found it lacking, anyway; I did get the sense watching it that it would probably find a small-but-enthusiastic group of devotees along the way.

Facebook | Twitter | Blog Index | Film Index

Segun Akinola on scoring Doctor Who, composing music during lockdown, and more

doctor who segun akinola series 13 theme music score composer lockdown chibnall silva screen soundtrack revolution daleks

Series 11 was all about having its own sound. It’s a completely different sound and a very different approach. It’s moving around musically, but also there is a series sound to it. With Series 12, it was not about changing the overall direction, but making sure that just as the story was developing and the characters were developing, the music was also developing. You could look back on Series 11 and hear something and think “That’s Series 11, not Series 12”, but [the new music] doesn’t sound out of place or like the direction is completely changed.

Here’s my interview with Segun Akinola, Doctor Who‘s current MVP – even as I’ve been frustrated with other aspects of the show, I’m never not impressed by his music. Some of the most memorable moments of Series 12 are down to his score, to my mind: his James Bond-esque motif does a lot of heavy lifting for Spyfall, the score for Nikola Tesla’s Night of Terror is brilliant from start to finish, and I did really love that arrangement of the theme tune in The Timeless Children

Facebook | Twitter | Blog Index | Interviews Index