A Big Bold Beautiful Journey: Closing The Door On The Cinematic Dream
- Hannah Sugars
- Oct 5
- 4 min read
When a chance meeting ignites a spark between strangers Sarah (Margot Robbie) and David (Colin Farrell), they embark on a journey of self-exploration, confronting their preconceptions about love and intimacy. At first, begrudging and too proud to admit their need, the pair come to find purpose in both the journey and in their waking lives beyond their fever dream.
If being in the same place at the same time to celebrate newlyweds wasn’t fate enough, hiring a 1994 Saturn SL from the very same company the following day sealed it. As the pair traverse time and space and are presented with numbered opportunities to relive their respective pasts, they come to terms with hard truths and pledge to fulfil their lives—to open themselves to the possibility of shared experiences.
When the impossible becomes possible right before their very eyes, Sarah and David begin to believe in something bigger. Though familial baggage stands between them, it will come as no surprise to film enthusiasts that they reconcile their differences and establish common ground. Having seen the advertisement on the side of a bus, you might have suspected as much. When all is said and done, will Sarah coast along blissfully dependent on her GPS or lead by her instincts? I wonder.
A Big Bold Beautiful Journey drives home—literally and metaphorically—the significance of our past decisions—how they ripple into the relationships we hold today—romantic, or otherwise. Was it beautiful? Undoubtedly. Bold? Not so much. Though the acting was of the highest standard (then again, Robbie and Farrell make for a stellar cast) the narrative itself was cliché and predictable. To an extent, all drama-romances embody both of these things. I suppose I was drawn to the door metaphor; the imagery stood apart from other romantic films. That fantastical edge raised my expectations. But the narrative fell short and felt distinctly lacking in originality.
Significantly, some of the scenes were misplaced; the film would have perhaps flowed more naturally without them. Namely, when David revisits his former high school and takes on the lead role of the school play as a now adult. Though endearing, it missed opportunities to explore more meaningful insights. The delightful surface appeal is not to be underestimated, but the depth that could have elevated it was mostly absent. David repeats history—his performance, his mistakes. And to relive it, for what? He confronted rejection from his former childhood sweetheart with uncanny foresight—prophesying an ill-fated future with the chosen man. Funny, that! Still, he humiliated himself in a desperate and futile show of unrequited love. It wasn’t entirely enjoyable, either. My friend and I exchanged glances heavy with the unspoken question: What is the meaning of this? In other words, what is the point?
It is no small feat that A Big Bold Beautiful Journey introduced a brilliant concept to the realms of romance and fantasy. One cannot overlook the innovative and strikingly original concept. It was utopian and it was highly optimistic. Though the pair journeyed through the past, the concept itself was entirely futuristic. The vision was ingenious; the reality perhaps underwhelming. Sarah and David encountered a series of doors—thresholds between what was and what could be. Much like the proverbial ‘open door’, each milestone offered a boundless realm of possibility. Certainly, what lay beyond each door was a breathtaking visual spectacle. Though I can’t help but wonder if the narrative might have been better suited to a play.
What’s more, character development was limited. My knowledge of the characters was limited. They were entirely face-value; nothing surprised me beyond the surface. I learnt everything there was to know about them within a mere ten minutes. There was no element of surprise, nothing that particularly gripped me. It was purely a nice sentiment. In fairness to Robbie and Farrell, there’s only so much depth you can bring to a transparent character—they did the best they could. Did the acclaimed filmmaker, Kogonada, do a disservice to his actors, respected as they are? The film touched on emotional themes, but they were largely hollow and elicited little emotional response. There shouldn’t have been a dry eye in the cinema.
Above all, the film often gave the impression that it was somewhat low-budget—an irony not lost on viewers. Certainly, at times, this was a deliberate stylistic choice: a stand-alone door in the middle of a forest; a half-built house set. Other times, it felt reminiscent of a two-hander play with minimalist props. Scenes felt staged and theatrical, rather than cinematic. The distinct lack of extras made the world feel empty. Though the central idea itself was strong, I would argue that the film didn’t reach its maximum potential. It resembled a first draft. A rehearsal, perhaps, albeit with striking graphics.
Indeed, the cinematography should not go without mention. The lavishly dreamlike quality of the film is a testament to the expertise of the fantastic Benjamin Loeb. Clever angles made for insightful perspectives, though largely wasted on an uninspired narrative. The aerial view of Earth lifted an otherwise mundane moment into something visually captivating. The interplay of bold colours and shadows throughout the film was not only visually pleasing; their contrast amplified the emotional resonance of the film’s most delicate moments.
Would I recommend it to a friend? Yes. Particularly one of my fellow art student friends. Why? I think there’s a whole lot to unpack here; A Big Bold Beautiful Journey is rich with symbolism. I can’t say I wouldn’t have enjoyed studying this for A-Level English Literature. I can certainly see why the film has divided critics. Concept—excellent. Cast—brilliant, as ever. Visually—yes, a thousand times. Characters—underdeveloped. Narrative—unremarkable and incoherent. Perhaps a second look would help me bridge some of the gaps. The question remains: is this enough incentive to see it again? I think I’ll be closing the door on this one.
Edited by Lara Walsh, Co-Film & TV Editor
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