Film Review: ‘Endless Love’

Endless Love Review

This sugary remake (or re-adaptation, whatever) is an innocuous fairy tale about the shining power of puppy love.

Unlike Franco Zeffirelli’s notoriously over-the-top 1981 filmization of Scott Spencer’s novel, Shana Feste’s “Endless Love” seems less a misguided adaptation than a deliberate, flat-out rewrite. Feste and co-scripter Joshua Safran turn a dark tale of self-destructive romantic obsession into an innocuous fairy tale about the shining power of puppy love, set in an insulated universe where head-on collisions result in a few artfully placed bruises, and class differences arise merely to test the resilience of youthful affection. Universal is wisely opening this sugary confection on Valentine’s Day, probably the only occasion on which tweens could persuade their dates to swallow it, though it may prove too bland even for its target audience.

Unlike Spencer’s troubled adolescent, whose uncontrollable passion landed him in mental and penal institutions, David (Alex Pettyfer) may be the politest, kindest, most well-adjusted yet non-nerdy teen in cinema history. Of course, he’s also ruggedly handsome, highly intelligent and extremely popular. He’s secretly carried a torch for blonde upper-class beauty Jade Butterfield (Gabriella Wilde), but has never spoken to her; nor, for that matter, has anyone else, as her grief for her beloved dead brother, Chris, and her drive to excel in school are generally mistaken for icy snobbishness.

Once the ice is melted, though, things proceed apace and the two are soon inseparable, tastefully and quasi-chastely consummating their love in front of a blazing fireplace. Yet one major obstacle threatens their love’s endlessness: Jade’s doctor dad, Hugh (Bruce Greenwood), looks down on working-class, non-college-bound David and deeply resents any attempt to distract Jade from assuming her late brother’s place in a long line of Butterfield cardiologists. Jade’s mother, Ann (Joely Richardson), on the other hand, takes an immediate shine to the young man, encouraging her daughter’s newfound liberation.

For finally, “Endless Love” is less about the hand-holding pair and their music-driven montages of carefree bliss amid Georgia’s verdant greenery than it is about Family. David not only restores Jade’s stolen childhood and her relationships with her peers (the Butterfield residence knee-deep in partying teenagers), but also heals the deep wounds that Chris’ death has inflicted on the upper-crust clan. Here it is not young David but father Hugh who is obsessed, turning Chris’ room into a shrine, constantly dissing younger son Keith (Rhys Wakefield) for not living up to his sibling’s promise, and distancing his wife with polite civility.

A fire at the Butterfields’ — which, in both the novel and 1981 film, was set by David and provided the primal act that precipitated tragedy — here ignites by accident and sets Hugh on the road to redemption. He is merely the last of the Butterfields to tell David how wonderfully his love has illuminated his life.

In “The Greatest” (2009) and “Country Strong” (2010), Feste proved herself quite skilled, if not especially innovative, at limning her characters’ emotional travails. But subtlety, complexity and even the slightest modicum of realism elude her here. Her teenagers come off as eerily well behaved; the speak of getting drunk or high but show no signs of rowdiness. Their idea of lawlessness is to break into a zoo at night to ride the merry-go-round. And the speed and thoroughness with which all psychological problems are solved, once exposed to David’s beneficence, defy analysis.

Thesping is as good as the premise allows. Pettyfer incarnates the chivalrous hunk with a surprising degree of believability, and if Wilde’s Jade proves rather one-note in her overnight socialization, her flawless complexion and rapturous runs through the shrubbery sufficiently establish her princess stature. Greenwood, so brilliantly nuanced as another grieving father in Atom Egoyan’s “Exotica,” here injects his grief-mad doctor with a wealth of evil energy.

Airbrushed-looking lensing by Andrew Dunn and a sweepingly romantic score by “Frozen” composer Christophe Beck round out the saccharine bill.

Film Review: 'Endless Love'

Reviewed at Universal screening room, New York, Feb. 12, 2013. MPAA Rating: PG-13. Running time: 105 MIN.


A Universal release and presentation of a Bluegrass Films/Fake Empire production. Produced by Scott Stuber, Pamela Abdy, Josh Schwartz, Stephanie Savage. Executive producers, J. Miles Dale, Tracy Falco.


Directed by Shana Feste. Screenplay, Feste, Joshua Safran, based on the novel by Scott Spencer. Camera (Deluxe color, widescreen), Andrew Dunn; editor, Maryann Brandon; music, Christophe Beck; music supervisor, Randall Poster; production designer, Clay Griffith; art director, Angela Stauffer; set decorator, Wayne Shepherd; set designer, John Moredock; costume designer, Stacey Battat; sound (Dolby Digital/SDDS/Datasat), Mary Ellis; supervising sound editor, Scott Hecker; re-recording mixers, Frank A. Montano, John Taylor; visual effects supervisor, Eric Robinson; visual effects producers, Michael Borrett, Wilson Cameron; visual effects, Mr. X; stunt coordinators, Steven Ritzi, Randy James Beckman; assistant director, Michelle Panelli-Venetis; second unit director, Steven Ritzi; casting, Kim Davis-Wagner, Justine Baddeley.


Alex Pettyfer, Gabriella Wilde, Bruce Greenwood, Joely Richardson, Robert Patrick, Rhys Wakefield, Anna Enger, Emma Rigby, Dayo Okeniyi.

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  1. lynzyallison says:

    Why is it that critics seem to hate any movies that are light and romantic and sweet? Haven’t we seen enough of dark twisted plots and superheroes? Who gives a flip if this one compares to the original movie
    that most people have never seen. It was a beautifully filmed classic love story with some really sweet moments of love and family thrown in. The actors were great at pulling you into the story. Has Hollywood become so jaded that they can’t even remember what innocence felt or looked like? Just shut up.

    • Chris Etrata says:

      Critics don’t hate every light romantic movie. About last night is light and romantic yet it got great reviews. My problems with this is 1. Taking the title of a novel and applying it to a different film and 2. What comes off sweets in the film comes off as dumb in the film like throwing away an internship to spend more time with your loved one.

  2. LOL says:

    I wonder if it’s a generational thing which makes a Gen X film critic laugh at the mollycoddled nature of what today’s youth whom consider “[breaking] into a zoo at night to ride the merry-go-round” as being ‘lawless’?

  3. Joe Smart says:

    Why would Scott Spencer even allow his name on this thing? As bad as the 1980’s film was at least it was an actual adaptation of his book. This seems to have virtually nothing to do with the source novel at all beyond the title.

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