Lucy Boynton plays a woman who can travel back in time with the power of a song in a high-concept, low-enjoyment fantasy
In the often insufferably cutesy romance The Greatest Hits, our heroine travels back in time whenever a song from her past is played, nostalgia acting as a magical, transporting force. While watching the film, we too are pulled back but rather to all of the far superior films we’re inconveniently reminded of, from High Fidelity to Richard Curtis’s similarly high-concept About Time to the ’00s Sundance breakouts (500) Days of Summer and Garden State. It’s a film about the power that great music has in distracting us from the now that instead showcases the power that great films have in distracting us from the lesser ones they inspire.
But even without the many whiffs of familiarity, writer-director Ned Benson’s film would still be hitting a bum note. It’s all too self-consciously disheveled, every band T-shirt looking less like it was found at a gig and more like it was bought at an Urban Outfitters and it’s this slick cleanness that affects both style and story. Harriet (Lucy Boynton) is stuck in a grief spiral after her longtime boyfriend Max (new Superman David Corenswet) dies in a car accident. She’s shifted jobs, become withdrawn and walks around with ear plugs and a giant pair of headphones because it’s not just that certain songs take her mind back to certain moments with him, it’s that they take her entire body as well. If she hears a song that was playing at some point during their relationship, she’s thrown back to that exact moment. Her efforts to save him remain fruitless, though, and so her blessing becomes a curse.
