TIFF Review: ‘Charlie Harper’ Has Emotions But Not Enough Depth

Examinations of crumbling relationships are a staple of film festivals. Movies like Blue Valentine and Like Crazy have blown me away over the years. In some ways, these flicks always traffic in the same sort of plots. The difference is in the depth of the story. In the case of Charlie Harper, the emotions are all there, just told in a way that comes off a bit on the shallow side. As such, it’s a forgettable part of the Toronto International Film Festival this year.

Charlie Harper has a pair of strong performances and a lot of heart. The thing is, it’s very thinly drawn and nothing that we see hasn’t been done before and better. So, you can admire the leads and the work they’re putting in, and they’re doing it very well, but it simply isn’t enough. By the end, when your heart should be breaking, you’re definitely sad, but you’re also ready for it to all be over.

This is the story of Charlie (Nick Robinson) and Harper (Emilia Jones), jumping around slightly in time through their five year relationship. Our introduction to them is a meeting between the two that we quickly figure out is not their first time introducing themselves to each other, though where in the chronology will remain a bit of a mystery. He’s the smartest guy in the room, but uninterested in college and generally lacking in any real direction. She’s ambitious and lively, determined to be a chef, and they fascinate each other. A casual relationship begins, one that seems to be on the verge of ending when she moves to New Orleans to begin her dream. She’s asked him to come and he’s said no, but when they say goodbye, he changes his mind and tags along.

Charlie gets a job at a printing shop, while Harper gets work in a restaurant. Initially, they still seem happy with the life they’re building, though slowly Harper begins to resent Charlie not advancing in life. This frustration brews when he backtracks on taking some college courses, or even getting his driver’s license updated. Soon, arguing begins, as well as a general sense of unhappiness. They both think back on happier days, while wondering what, if anything, the future holds for them.

Emilia Jones and Nick Robinson are both doing very good work here, which is the real selling point. Jones especially builds on her work in CODA with a more mature performance. If there’s layers to be found here, it’s in her performance. Robinson is also showing some of that, it’s just that his character is a little thinner written than hers. Their happy chemistry is charming, while their arguments are savage, hinting at a stronger film. Supporting players here include Gralen Bryant Banks, Jessica Blackmore, Nicholas Cirillo, Sebastian Delascasas, Jonathan Gregg, Ja’Quan Monroe-Henderson, Virginia Tucker, and more.

Tom Dean and Mac Eldridge direct a screenplay that Dean penned, and they seem content to just play the hits. It’s not that they do anything particularly wrong, either. It’s just that Dean and Eldridge make things feel a bit more shallow than intended. There’s no real observation to be gained in Charlie Harper, except that relationships are hard. We all know that, so watching it unfold eventually just becomes rote and upsetting, torpedoing the movie.

Charlie Harper threatens to perk up at times, largely due to Jones and Robinson, but it never finds that needed extra gear. So, despite it being a type of film that I tend to gravitate towards, it can’t feel like anything other than a disappointment. As one of the first titles playing at TIFF during the opening days, it’s destined to largely be forgotten about.

SCORE: ★★1/2