Eternity review: Elizabeth Olsen, Miles Teller, and Callum Turner fall in love triangle
When it comes to sweeping heteronormative love stories, there are typically two categories: 1) The couple lives together, happily ever after, or 2) Their love ends tragically, potentially with a death or two. In Eternity, filmmaker David Freyne says "why not both?" with all the knowing cheek that meme reference implies.
Freyne's screenplay, co-written with Patrick Cunnane, folds together these romantic drama tropes with a dash of Defending Your Life. Miles Teller stars as Larry, a devoted husband who spent 65 years making his wife, Joan (Elizabeth Olsen), happy. When he chokes on a pretzel, Larry ends up in the afterlife in a younger version of his body and eager to reconnect to his wife. But he's not the only one waiting on Joan. Also on the other side is her dashing first husband, Luke (Callum Turner), who died valiantly in "the war." (Which one? Well, that's a whole thing.)
When Joan shows up in the afterlife, a new war brews between her two beaus, fighting for who she'll spend eternity with. The result is a chaotic and winsome comedy that's heartwarming fun.
Eternity re-imagines the afterlife with plenty of irrelevance.
Forget typical cinematic depictions of the pearly gates or Tim Burton's Beetlejuice dead-world weirdness. In Freyne's movie, the entrance to the afterlife looks like a train station and a doctor's waiting room had a boring baby. But that's precisely the point. White walls lead to white halls and on to unremarkable hotel rooms and a convention center, because this is not a place for staying but instead for making one big decision: What will your eternity look like?
Once Larry arrives, he's connected with his afterlife counselor, Anna (Da'Vine Joy Randolph), who lays down the rules: He has to pick which destination he wants, and it's forever. No turning back. These eternal locales range from mountains to beaches, museums to outer space. There's even a 1930s Germany that's all decadence and cabaret and no Nazis! Or perhaps you'd prefer a Capitalist World? For the religious, there's an array of options allowing them to live out the afterlife they imagined.
These options mostly serve as background gags through posters and costumes, with overeager salespeople trying to score clients. Beyond that, however, there's the entertaining clash between Larry and Luke.
Where Luke is suave, patient, and knows when to swoop in for a moment of chivalry, Larry is an impatient, cranky man in his mid-30s body. Where Luke might sweep Joan into his arms with an almost parody precision, Larry is giddy to show her their afterlife bodies allow them to squat again! No cracking knees or mobility issues!
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Within this comparison, Cunnane and Freyne smartly play the romantic ideal of love against its everyday reality. Bringing the bubbly energy of a grandma given a new hip, Olsen is radiant as the love interest, but even better as the frustrated heroine torn between two very different men. Callum meets her in the sweeping romance tone, but is able to get down with Teller for some physical comedy/fighting. (The squatting bit is solidly funny.) However, it's Teller taking the brunt of the punchlines. All is fair in love and war, and for Larry, that means some low blows, including about the war that killed Luke!
Da'Vine Joy Randolph and John Early are sublime as snarky sidekicks.
Randolph, who's earned rave reviews for her turn in the drama The Holdovers and her hard-nosed detective in Only Murders in the Building, gets to be far sillier here. After eras of pointing the dead to their afterlives, Anna's become a bit jaded about her job. But seeing Larry and Joan's predicament, a fire ignites in her as she pulls for the underdog.
Her professional rival, then, is Ryan (the director and star of TIFF standout Maddie's Secret, John Early). As Luke's afterlife counselor, the sharply ambitious Ryan has been waiting 67 years to see Luke and Joan reunited. He's not about to give up on them just because of some schlub named Larry.
Within this subplot, Eternity offers a bit of petty office politics that the actors make a meal of. Beyond that, these supporting players are tasked with much of the film's exposition, but they are never weighed down. They smile, sneer, and soar, turning little moments into laugh-out-loud events. Randolph and Early push every moment onscreen to something outrageous and hilarious.
Even the bland colors of their uniform (beige suits with white button-downs and a red tie), proves a sharp comedic contrast to the world around them. Brilliant in deep reds, greens, blues, and golds, the palette suggests a world where everything is better than real life; it's perfect. So many scenes of Eternity look like postcards, vivid and gorgeous. Looking at such views, it seems impossible to imagine there could be a wrong choice. But the same palette means that flushed cheeks and teary eyes are all the more radiant, displaying the pain of Elizabeth's choice with simple details.
Altogether, Eternity delivers a charming parody of romantic comedies without mocking the viewers who love them. The conflict between two kinds of romantic love, and the two robust love interests on offer, makes for exciting tension. The wild spin of their stories leads to moments silly, sexy, and warm. Yet Eternity's afterlife backdrop allows for a slew of more provocative jokes to sneak through.
The result is a rom-com that's smart, sensational, and swoon-worthy.
Eternity was reviewed out of its World Premiere at the Toronto International Film Festival. The movie opens in theaters Nov. 26.
