We Live in Time

 

We Live in Time
Starring Florence Pugh, Andrew Garfield, Adam James, Marama Corlett
Directed by John Crowley

Many times when we see a bad movie, we say that the actors did a decent job with the limited script they were given. They gave it their all but in the end the movie just wasn't that good. I'm not saying "We Live in Time" isn't good, but the script could've devolved into sappy Hallmark style romance with manipulative tugs at your heartstrings when the other shoe drops. However, when you get two of this generation's most acclaimed and naturally talented actors - and the script that doesn't follow the generic linear narrative - you've got a movie that doesn't deserve to be so good, but it is.

One night, Tobias Durand (Andrew Garfield) is hit by a car on the road, and while in the hospital he meets the driver, Almut Bruhl (Florence Pugh). The two strike up a friendship which eventually leads to romance, and the two fall deeply in love with one another. As time passes, Almut is diagnosed with ovarian cancer, and makes a decision that has lasting impact on her, Tobias, and their future daughter.

"We Live in Time" tells its story in a non-linear fashion, jumping to different times in Tobias and Almut's relationship, which is a daring move considering many people prefer their stories to be told with a beginning, middle, and ending. The film begins with Almut already dealing with her cancer before flashing back to when she first met Tobias, and goes to when she was pregnant, then after the second diagnosis, and back and forth. To me, it kept the film from being dull and generic as I pieced together the time frame based on the events and Pugh's hairstyle at the time. It also gave me a deeper appreciation for their relationship and, more importantly, the caliber of Andrew Garfield and Florence Pugh's natural acting talent.

The two actors are highly acclaimed performers, both Oscar nominees, and both Marvel stars in their own right. They can become chameleons and effortlessly flow from one genre to another with effortless ease, making every performance believable, palpable, and excellent. They never phone in their work, and in this type of film it would be easy to do so (the romantic subgenre has taken a nosedive lately thanks to bland outings like "Fifty Shades of Grey" and the "After" series) - but instead we're gifted with two Oscar-worthy performances in a film not deserving of their talent, and we're all the better for it.

From the jump you sense the deep love and commitment between Tobias and Almut, and they support each other fully. Almut is a successful chef who was formerly a successful figure skater, and Tobias supports her from the get-go. Tobias wants a family and Almut agrees, despite going through cancer, she decides to forego the therapy that might work but would rob them of a child in favor of another form of treatment that would still leave the option for her to get pregnant, and when it finally happens its a crowd-pleasing moment (not that we didn't know it would happen, as we've already seen the future with their child). This shows their talent that, while we saw it coming, it was still a huge emotional moment.

So too is the unorthodox birthing, which is equally hilarious and heartfelt, and easily the standout moment in a movie full of standout moments. The film concludes with them dealing with Almut's cancer return, and it's here the linear narrative takes hold, but they manage to keep it from becoming emotionally taxing but gives us a natural sense of emotions that will leave us in breathless awe at the end. Again, with lesser talent, this would've been a taxing endeavor, but with Garfield and Pugh, it's a masterpiece.

The Score: A+