As Zac Efront’s Cole tiptoes away from his past, the film keenly observes a character who doesn’t know how to secure his future, or his identity.
The film delivers the same misogynistic, faux-modernistic jolts of trashy humor and labored plotting that typify Michael Bay’s work.
A romantic drama complicated by a stroller and a wheelchair, and its first mistake is in assuming some kind of equity between the two vehicles.
The film’s sense of conviction and psychological nuance never rises above that of the “I Learned It from Watching You” anti-drug PSA.
The film consistently feels like an unattended idling motor, existing for the sheer purpose of existing.
The end result showcases none of Curtis Hanson and Michael Apted’s strengths, though the thematic material is more in the former’s wheelhouse.