Movie Review: ‘Big, Bold, Beautiful Journey’ is high-concept fumble
Dante Ulanday - News Moderator 
Kogonada’s new high-concept film A Big, Bold, Beautiful Journey takes so many themes and tropes that would normally be up my alley, but somehow, almost impressively, fumbles executing nearly all of them. Following the critical success of his first two features, Columbus (2017) and After Yang (2021), Kogonada’s latest film reunites the director with his After Yang star, Colin Farrell, and bites off more than it can chew, apparently.
In modern day America, David (Farrell) is on his way to the wedding of a close friend but has to resort to renting a car because his own was towed for being double parked outside his complex. While at the wedding, David meets Sarah (Margot Robbie), who also rented a car from the same strange car agency, which features a highly advanced GPS system that seems to know where to take you.
When they both agree to allow GPS to take them on a “big, bold, beautiful journey” after leaving the wedding, David and Sarah magically revisit important moments throughout their lives to influence their choices for the future.
Phoebe Waller-Bridge, Hamish Linklater, Lily Rabe, Chloe East, Sarah Gadon, Billy Magnussen and Kevin Kline make appearances in the film. Beautiful Journey is the second screenplay of Seth Reiss, who penned Mark Myold’s The Menu (2022) and various TV comedy sketches.
Unfortunately, the biggest issue with this movie is the script. The visuals and other directing choices are fine, but none of the emotional beats work, especially the dialogue. Every line either sounds unnatural or cliché, the foul language feels forced, and a musical sequence in the middle of the film made me physically cringe from its awkwardness.
When the mediocre reviews started coming in last week, I was mostly expecting the story to just be derivative, which it is a lot of the time too. But some parts of Beautiful Journey barely even make sense and don’t bother explaining the rules of this magical universe.
The introspective scenes throughout the second half of the film feel very artificial and pseudo-artistic. Sadly, the picture is also a reminder no matter how charming, attractive and talented your leads are — all things Farrell and Robbie definitely fit — it’s not a guarantee they’ll have authentic chemistry.
What should have been a grand slam with everyone involved, only makes me look more forward to David Freyne’s Eternity coming out in November, and want to revisit Michel Gondry’s Eternal Sunshine of the Spotless Mind (2004).
