The cinematographer, colorist, and editor deserve their praise. They killed it. 👏🏾👏🏾👏🏾
I love comedies, like the “Austin Powers” films and “Archer,” that intertwine the writing and editing. I wonder if there’s a term for that type of comedic-looping. And with this screenplay being centered around the idea of today, yesterday, and tomorrow being “the present,” it would have been super easy (and artistically cheap) for the screenwriters to get away with abusing the comedic-looping idea—they didn’t abuse it and I respect(s) it.
This screenplay was fire, bruh. 🔥
That climax!! 🔥🔥
That change in the score during the climax!! 🔥🔥🔥
They used the same comedic-loop editing trick from the introduction to frame and heighten the effect of Sarah’s (played by Cristin Milioti) reality, prior to the recurring déjà vu, and it was unexpected and very well done. Kudos to the director on that transition from her troubled look in the hotel bed to the same look while she was driving in the car with Nyles (played by Andy Samberg).
Yo, and connecting the scent of her shampoo to multiple degrees of positive and negative conflict throughout the film was **chef’s kiss** perfection. THE WRITERS DID 👏🏾THAT👏🏾!!!
Loved seeing J. K. Simmons (da gawd) in this film! I adore his art. He’s fun and beyond talented.
This is the Andy Samberg-led dramedy I didn’t know I needed. A nice little pick-me-up with a bit of edge. Shouts to Hulu for the distro. Y’all lit, sometimes!! Samberg has one of most expressive faces in the business, and it’s perfect for his comedies, but I don’t think I’ve ever seen him in art quite like this before. I wonder if he felt pressured during the making of this film, knowing that he excels in comedy, and wanting to show off his dramatic chops, à la Will Ferrell and Adam Sandler. His performance exceeded my expectations. 🙂
Milioti was awesome! Her performance was so genuine. ☺️ Kinda dope that her character attempted to science her way outta her problems. My nerdish-ness felt empowered! 🤓
Also, shouts to Chris Pang (Crazy Rich Asians, Charlie’s Angels). I seen’t ya in the cowboy hat! 🤠 Love him. More of him, please!😏😏
“Palm Springs” is my type of dopey rom-com, science-fiction-y, drama-ish fun! It’s giving me 90s-Meg Ryan, Julia Roberts and 00s-Kate Hudson, Jennifer Aniston-y throwback, but with a palpable seriousness that helped me question an aspect of my current state. I can’t pinpoint what I was expecting from the previews, but I don’t think this was it, and that’s a positive!
Also gotta shout out the production designers, the set managers, and editing teams. I can only imagine the tasks of resetting the same props, every day, the exact way because the movie’s plot is that each day is a replay. That had to be an incredible feat and I don’t envy them at all. Just here to tip my hat to some of the under-appreciated elements of filmmaking.
The music department deserves their claps too. 👏🏾👏🏾👏🏾 The score and soundtrack gave me quintessential 80s montage at the perfect moments. It gave me teen comedy. The music in the introduction set the tone for the film and felt appropriate. The score’s textures dipped in and out of comedy, drama, and romance with utter seamlessness. Appreciated the Hall & Oates classic during the closing credits—so fitting!
One last thing: the aspect ratio mattered. Glad the director of photography and/or director decided to use 2.39 : 1 (anamorphic) format rather than 1.85 : 1 (widescreen). That sort of specificity helps with tone, and was essential during many of the comedic moments, and necessary during the climax.