Richard Crouse

SYNOPSIS: In “It Ends with Us,” a new domestic abuse drama based on the bestseller of the same name by Colleen Hoover, and now playing in theatres, Blake Lively plays Lily, a young woman who relocates to Boston to find a new life, and romance with wealthy neurosurgeon Ryle (Justin Baldoni). When the ghosts of the past revisit themselves on her new relationship, Lily must take control and take charge of her own destiny.

CAST: Blake Lively, Justin Baldoni, Brandon Sklenar, Jenny Slate, Hasan Minhaj. Directed by Justin Baldoni.

REVIEW: “It Ends with Us” raises issues of the lingering, intergenerational effects of domestic abuse but is let down by its uncomplicated portrayal of the complex dynamics that motivate the characters. The film’s cycles of abuse themes are provocative, but director Baldoni (who also stars as Ryle), and screenwriter Christy Hall blunt the story’s impact by not digging deep enough. Abuse is a thorny, ugly subject, and nobody wants to see explicit representations of it on screen, but “It Ends with Us,” while well-meaning, simplifies the issue to the point of melodrama. Sincere melodrama, but melodrama none the less.

Lively is compelling as Lily, and her performance brings with it, when appropriate to the situation, heaping helpings of charm, warmth and courage. She nicely cast, as is Isabela Ferrer who plays young Lily in the flashback scenes. Ferrer not only looks like Lively but brings the same range to the role.

As Ryle’s sister and Lily’s BFF Allysa, Jenny Slate is also a welcome presence.

(MILD SPOILER ALERT) In theory Ryle is a walking contradiction. Charming and successful, he’s also a bit of a stalker with a violent streak. He’s a healer who breaks things when he gets angry. Baldoni plays him with a thin skin, as a man guided by his passions, for better and for worse.

Trouble is, the relationship at the heart of the film, between Lily and Ryle, always feels at arm’s length. Their meet-cute yearns to have a charming cat-and-mouse vibe, but other than some low-wattage sparkle, they don’t display a great deal of chemistry in this extended scene.

It doesn’t help that screenwriter Hall inserts exposition that is meant to be the kind of “naked truth telling” used so effectively in her movie “Daddio.” Unfortunately, the revelations feel less like “get to know you” confessions than hints of things to come later in the film.

When “It Ends with Us” takes a dramatic turn in its second hour, the stakes are raised and the culture of abuse themes come into focus, but over-all it feels padded by slo-motion montages (scored to the ironically named “Nothing’s Gonna Hurt You Baby” by Cigarettes After Sex), Hallmark style dialogue and romance movie clichés. Still, it’s hard not to root for Lily as Lively guides her on her emotional journey.