Last year, the Sundance hit Ry Lane was pushed to a straight to Hulu release in the spring, and this year, another perfectly fine indie has been relegated to the same release window. The Greatest Hits is an interesting look at memories, time, and love, all against the backdrop of music. If it wasn’t for the time traveling aspects, this would be a Gen Z version of high Fidelity. Exploring the profound connection between music and memory, The Greatest Hits is centered on a young woman (Lucy Boynton), who is still processing the loss of her boyfriend, and has to stay away from certain songs, as they literally transport her back to specific memories, allowing her to relive an entire situation. When she meets another person dealing with loss at a support group (Justin H Minh) she starts to consider the possibility that she could love someone else again, but can she figure out a way to keep slipping in and out of reality?
Boynton is great here, and the use of music as specific portals to the moments in life, and the exploration of nostalgic grief is what works. Boynton delivers a perfectly wonderful performance, fully rounded, and emotionally rich. It’s a nice balance to Minh, who offers very little here. Honestly, he was my least favorite thing about Shortcomings, and his shortcomings are evident here, as he seems stunted. That thing that he has worked really well when he broke through as an android in After yang, when we all thought it was great acting, but now it just comes across that he really doesn’t have range. Here, his agent has managed to get him a role that seems like his lack of personality can be regarded as a version of depression, as he deals with the death of his parents, but he never seems connected or grounded, and makes an awful choice for an alternative boyfriend.
Furthermore, while the time travel is interesting, the reasons for it are never explained. She also travels back and forth with little to no consequences most of the time, until the film requires it. There’s barely a supporting cast. She has a gay best friend who runs or DJ’s at a record shop (it’s a little hard to tell), and he’s fine. But no one but Boynton makes an impact. She carries the whole movie.
Even Minh is put at a disadvantage, since he meets her at a grief support group, and his first instinct is to flirt with her outside. What a cool place to pick up chicks. What sells the film is Boynton, the general concept of navigating grief through music, and a terrific soundtrack. The time travel is kind of cool, and though it makes no sense, it sets up an interesting ending.
This is, I believed, the first time I’ve heard Destiny Stewart as a narrator, and I thought she did nice work. Honestly, this film is a little difficult, as often the lights are a part of the vibe, and the time travel makes the description harder. when you aren’t sure if your primary character is a reliable narrator, and there’s a twist of sorts at the end, the narration has to be carefully done. I thought there was enough description regarding the look and feel of the film, and the time slipping, as well as enough to support Boynton, that it is worth mentioning that I was surprised this was Roundabout. I’m mixed on their quality as a company, but this is one of their better titles. If Stewart is also a writer, and not just the narrator, I would say give her a full time gig, and kick someone else out. She should help improve the average, though the writing could even go further. I just recognize that this is not an easy film to describe, with the time jumping coming with no explanation or backstory. It’s about not revealing the truth of the film, and letting audiences uncover for themselves the journey. Is she crazy, or actually going through this? That is something the narration did well.
Not quite Ry Lane, but Lucy Boynton is memorable.
Final Grade: B
