Love, Simon

If you want to tell about the life experience of a closeted high-school student, you should take care to ensure that half of the story does not focus on his straight friends, who are also better drawn (and played by more experienced actors). Love, Simon is a model gay romance for the white heterosexual audience (especially for all fag hags) dreaming of an ultra-tolerant world in which everyone can be themselves if they find the courage to do so. In the fictional world of the film, which is reminiscent of the social bubble in which many liberals live, homosexuality is not understood by only two dumber classmates, who are promptly admonished and do not cause any further trouble. Other manifestations of misunderstanding are not connected with who Simon is (with his identity), but with how he behaves (his character). The storyline with Martin serves as a contrived pretext for at least some sort of conflict in this fairy-tale-ishly non-confrontational and dramaturgically monotonous film. Most of the plot is based on the hard-to-accept premise that a young man shares the intimate details of his life with someone whom he does not know at all (and, despite that, with whom he is in love). More convincing is the second level of the story, which shows how, because of an unhealthy fixation on a person we mistakenly consider to be the only kindred spirit who understands us, we can lose the favour of many other people who actually care about us. Love, Simon is a welcome addition to the subgenre of high-school films for a broad audience, but in comparison with other teenage romances of recent years (Lady Bird, The Edge of Seventeen), let alone compared to more distinctive queer films (Call Me By Your Name, God’s Own Country), it is a matter of playing it safe with the rough edges ground down too far. 65% (31.05.2018)

A cute, nonconflicting teenage movie where even the “villain” looks like a pretty fine chap. It’s made to please basically everyone, at the expense of some narrative values, a fairy-tale through and through without a touch of reality, but with a laudable intention to pass on liberal values to the target audience. What pisses me off a little, though, is how hypocritical the creators can be. Showing tolerance and understanding for everyone is a nice thing, but happiness here is accessible only to boys who could be Calvin Klein models standing on their heads. If one of the characters the hero watched with a sneer on the stage while looking for someone who liked Game of Thrones sat next to Simon at the end, I doubt it would have been such a great love story. I’m giving it four stars because it’s very nice to look at, it’s engaging, funny and has a decent pace. At the same time, it’s one of those little mainstream bullshits that falls apart the moment you start thinking about it. If you want a gay film worthy analysis that delivers an artistic experience, go for Call Me by Your Name. (30.05.2018)

This is the proof that LGBT themes can be filmed with true emotion, in a fun, humorous and inventive way, with an attention for details. All you need is a good subject matter, likable actors, and you’re half way there. (31.12.2018)

A feel good coming of age genre film with a gay theme, but fortunately it's not raunchy or inappropriate, on the contrary, it's easily digestible. The main character is a nice guy and his friends are all great, the film is well paced, nice to watch and the director even manages to milk the tears out of the viewer towards the end, so unexpected satisfaction. 75%. (12.06.2018)

To come out as homosexual is not easy in today’s media-frenzied world, but the creators have chosen a barely believable and awkward way to portray this dilemma. It’s not that I couldn't relate to Simon at times, but the structure of the film drew my attention more towards his relationship with his well-drawn friends than to his predictable inner struggle. The core conflict with the douchebag Martin is contrived and the message “you can’t force anyone to fall in love with someone” is nice, but also shallow for the insufficiently developed secondary plot. I appreciate the positive feeling and the intentions, but some of the decisions are like from a stupid second-rate comedy (the insufferable deputy director, and several situations are toe-curling). 60% (26.01.2019)