Butler has made a longer than twenty minutes of a sitcom episode, it is light and public opinionated, it is going to get the attention, it is made to.
Butler’s love story is not of the epic scale its theme suggests, it is more rich and high in its poem than it is or should have been electrifying. But then everything is left until the very last moment, whether it be then uplifting conversations or the punchline in the storytelling. Speaking of which, the humor isn’t as smooth as it was in The Kubo And The Two Strings, there is a lot of extra effort that is to be dragged. While the rest of the effort is spent upon contradicting your opinion or expectations on how or where the film and characters are leading towards. Ironically, in order to do so, Chris Butler, the writer-director, has somehow managed to spring in that same fragrant flower that we all adore but also are familiar to.
The only possible way to reach for the “get out” clause in such a situation is to derive a maturity that would make him bulletproof. And pinning down the sequence where the lead, the protagonist, is helping his friend from falling into the sea, that very moment paints the poised nature of the film where it doesn’t appeal to its viewers with irrelevant and incongruent flight jumps or heroic moments to draw in the gasps but stays true to the narration that makes sense in this loud train of summer blockbuster.
Personally, it would always be a love story for me, and not between two individuals, but one personality split into two diversely behaved men, shaved and not so shaved. The mirror like persona that they carry is a beauty to behold, with two separate paths leading to a rendezvous point which is then evolved into the “Home Sweet Home”, is the Missing Link that they solve through shuffling the priorities, it starts off as the tale of “The One” and negotiates with us into the “We” type of allegory.