Me Before You (2016) Review

"Live boldly. Push yourself. Don't settle."

What’s a pair of actors to do when you’ve got time off from being the Mother of Dragons and recently got devoured/blown to death in The Hunger Games? Why, star in a romantic film opposite each other, of course! Because nothing says romance like carnivorous mutts and homicidal dragons. Yes, Emilia Clarke rides shakily into view in this dramatic film, upon the lap of a wheelchair-bound man (slightly unconventional mode of transport), as she and Sam Claflin attempt to avoid any cobbled paths that might turn this perfectly pleasant piece of cinema into an utter disaster.

Me Before You centres around Louisa Clark (Emilia Clarke), a woman who lives with her family – sister Katrina (Jenna Coleman), mother Josie (Samantha Spiro) and father Bernard (Brendan Coyle). After being fired from her position at a café, she gains employment as a companion for an affluent disabled man, Will Traynor (Sam Claflin), and simultaneously attempts to revitalise his desire to live, through a journey of bizarre extra-curricular activities, one of which includes attending his former girlfriend’s wedding to her new beau. Watching over Will is the rest of the Traynor family, his mum Camilla (Janet McTeer), and his dad Steven (Charles Dance). Also starring is Matthew Lewis as Louisa’s athletic boyfriend, Patrick.

One of the more impressing elements of the film is its dynamic leading duo: Clarke and Claflin. The former flutters onto the screen, bumblebee tights and all, as the colourfully dressed ‘Lou’, a chatty, smiley ex-waitress who is severely unqualified for most jobs. But this beaming butterfly of a character soars in the capable hands of Clarke, who has both the notoriety and screen presence to attract attention, but also the charisma and sheer contagious energy to keep you entertained. In many ways, Clark without an e is perfect for Clarke with an e.

After having starred in romantic novel adaptations like Love, Rosie, Claflin showcases his expertise in the genre by delivering a confident and engaging performance as a complex man who seems to have lost his passion for life. His chemistry with Clarke is undeniable, as the two wheel around, goof off and take in the world together, being rather adorable in the most charming of ways. What starts off as a very simplistic and questionable plot filled with clichés somehow manages to turn into a reasonably satisfying film in their hands, even if it isn’t quite as heart-wrenching and unique as it tries to be.

Unfortunately, as anticipated, the film is disturbingly glossy and somewhat idyllic, with its fair share of plot holes and cringe-inducing moments of utter cliché, and while its impressive cast tries their best to make up for the lack of real substance, they can’t quite melt away the sheen of superficiality that clings to this picture. All the classic tropes are present; the obnoxiously wealthy (but apparently tragically disabled) bachelor, the woman who tries to change him, the loving parents, the boyfriend who isn’t interested and the best friend (or in this case, sister) who is the shoulder to cry on.

But again, the focus is on the actors and their sheer determination to create something from very little – Jenna Coleman is effortlessly endearing as Katrina Clark, whilst Bates (or Brendan Coyle) attempts to fulfil his ‘follow-your-heart’ dad role, and even Matthew Lewis’ obsessive fanaticism with running (which of course, comes with a plethora of running puns) is hilarious in this context, when lined up with Clarke’s Lou who can barely run a few metres in her leprechaun shoes.

However, all of this does not, and could never possibly, detract away attention from the severe lack of depth the entire production has. It’s like a pair of Lou’s shoes; they’re stylish and beautiful – but they can’t be practical for anything too treacherous so best just stick to short, solid ground and not extend the heel (or plot) into anything too abstract. Consequently, Me Before You is a profoundly average film, that aspires to be something more than it is, but never quite ‘gets it’ – even when elevated by more than admirable performances.