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Every Day (2018)
Movie Reviews

Every Day (2018)

Presents interesting concepts of love and personality, but fails in execution.

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Imagine falling in love with someone who changes bodies everyday. Now imagine this someone is actually a disembodied spirit. This happens in Michael Sucsy’s Every Day, which proposes that who (or what) we love is more than just skin deep attraction.

Rhiannon (Angourie Rice) is a shy teenager who crosses paths with a disembodied spirit for the first time when it enters the body of her otherwise aloof boyfriend, Justin (Justice Smith). After spending a fun day together, she finds herself telling him personal things, all the while thinking she’s confiding to her boyfriend. As events progress, we learn this being, who calls itself “A”, changes bodies every day, but can only inhabit a particular body for 24 hours.

Over the course of the film, “A” inhabits fifteen different people, whose feelings for Rhiannon continue to blossom until neither one can deny they’re actually in love. The question then becomes the obvious – how does a relationship like this last?

Filled with romantic moments, interesting conversations and some beautiful scenes, Every Day brings up a very topical subject of today’s socio political atmosphere: are we our bodies or is there more to a person than just their body, gender and appearance? Unfortunately, while the film does a good job posing this question, it fails to give a real answer.

Angourie RIce gives a heartfelt performance as the sweet high schooler who just wants to be loved by her family and her boyfriend. Justice Smith also delivers good work convincing us of his teenage angst that conveniently overlooks everything that his girlfriend really needs. Perhaps one of the most pleasant surprises for older viewers will be seeing Maria Bello cast in the role of Rhiannon’s mom, Lindsay. Many will remember Bello from her E.R. days and I must say that she’s aged very well, and her talent still shines, both on the big and small screen.

Director Michael Sucsy was tasked with the difficult dilemma of showing an asexual human through the eyes and bodies of over a dozen actors. While this might seem like a daunting task, Sucsy brings out the tenderness and compassion of “A” in all actors/characters portraying him or her. However, aside from “A” being a nice person, we’re never shown anything significant about who (or what) this spirit is as an individual. “A” doesn’t really share any personal details aside from a knack for photography, an understanding of basic smart phone functions, an ability to cook, and an obsession with Instagram.

Many story questions are also left unanswered in the context of the film, such as can A die, what happens if a body that is inhabited by “A” dies, and what happens to the consciousness of someone while A is inhabiting their body? The film tries to touch on the last part of that question, but does not fully explain the consequences or even the origin of how A came to be in this predicament, thus preventing my suspension of disbelief just before the moment of complete surrender.

There were moments throughout that reminded me of The Time Traveler’s Wife, however it doesn’t hold a candle to the classic teenage romances that are still loved today, such as A Walk to Remember, 10 Things I Hate About You, and The Notebook. Perhaps the failure lies in the very context of the idea itself. Since “A” does not really exist outside of the body he or she is possessing, trying to relate to, understanding, or even falling for such a character, becomes nearly impossible.

The concept behind Every Day, that individuality and one’s love has less to do with outside appearances, is fascinating. However, a more in-depth telling of central character “A” would have given me more to hold onto as I sat in a dark movie theater, waiting for two characters, one of which kept changing faces and genders, to fall in love. Sadly, I’m still waiting.

About the Author: Annette Palmer