Spoilers ahead...I did enjoy it. It was a random Roku find, thought it would be good to fall asleep to, and ended up watching the whole thing. But...The acting is spotty... none of the performances were incredible, but most were convincing enough. The writing and directing... In some cases - like with Albert (the desperately, and slightly bitterly, in love but friendzoned guy) - the characters seem to almost be caricatures, like they were supposed to fill a comedic role, which just seemed out of place. You get some very cliché dialogue that does effectively move the story along, but seemed very by-the-numbers. There's a random cast of characters (mostly Clover's former friends), who just seem like convenient plot devices who pop in when called for, but who aren't really developed beyond that... you kind of have to take the premise of Clover's distress based simply on a nightmare/flashback, and take seemingly incidental motives (ex: from Bo, I think his name was) based purely on that, just to have them all come back in near the end to drive the plot forward. Point being: it's far from a perfect movie.But there's something idyllic and pastoral about it all, both in atmosphere/feeling and the storyline. At it's core, it's a solid coming-of-age love story between Bridger and Clover, both with their own psychological (and physical) scars... don't try to make sense of them both being very attractive, but (in Clover's case) psychologically scarred by what looks like some moderate eczema by her ear (it's a scar from a gunshot, k?). Their relationship develops slowly (I mean, until the montage to cover a few months at once), and both of their characters are actually developed well - certainly their bond with each other. And as much of a coming-of-age cliché as it is, it's really effective and is bound to give anyone the feels. Rustic settings, open skies, somewhat atmospheric music in the background - and a love story that perfectly fits that. There's also an endearing (though again, underdeveloped) love story between their parents, Helen and Will, which has a similar pace and a similar lost-people-finding-each-other vibe. This feeling of being lost, but forming connections through that, is a huge theme in the film, and - whether fully developed or not - has this calming, lulling pace with a sense of sincerity that was very impressive... again, with settings that seemed to perfect match that, and actually added to the story. Of course, you also had the savior/mentor (Bridger's shop teacher, whose name escapes me), and... while not the best developed dynamic in film, there is something very beautiful and sincere about it. The ending, however, is bad. Or... it's not bad, but it's annoying. Bridger is hospitalized; he wakes up from a coma and immediately proposes to Clover (obviously, right? Marriage makes for a wholesome teen love story, I guess). Fine, good for them - so you see them on the open road, heading for the ocean, Bridger continuing the journey he and his mother set-out on at the beginning of the film. Perfect ending... Wow! Very powerful, these outcasts finding each other and sense of freedom together. Naw, they have to get to the ocean. So, they're sitting there, looking out at the ocean, their parents (who came along on their honeymoon, of course) sit there with them, all staring out to the ocean. Great, good ending. Nope! Parents leave, Bridger and Clover are there, screen darkens, Bridger and Clover are in bed together. Ah! the real prize her, nevermind the ocean now. Beautiful ending! Naw... Bridger wakes up the next morning, walks out to the beach, and sits there looking out to the ocean. Alright, the ocean is symbolic of how far he's come (sitting on his own, making it a personal journey)... I get it, fair ending. Wait, no? wtf is this? Clover walks out to the beach to find him dead. Their parents suddenly get there (perfect timing) and everyone is gathered around Bridger - you see these new familial bonds have formed, this loss that they now all share - Bridger's death helped unite them and create this family, who will all miss him together. Alright, fine, it works. NOPE! Cut to a few years later, Clover has a daughter (presumably Bridger's, I'd hope), and they're at a playground, as a family, as this little girl is smiling, swinging on a swing - they're all smiling, they're a family. Freeze frame, focus in on this little girl's smiling face... finally, the movie ends. Not that it was a horrible ending in itself (except the freeze frame close-up), but that series of several endings, one after the other - as though the director couldn't decide how to end the film - just seems mawkish and heavy-handed, in what was otherwise (despite all its faults) a very nuanced, slow-paced, and sincere coming-of-age love story. Had they decided they were content staying where they were, and we went from Bridger's death at home to the family with this little girl to carry on his legacy, it would've been fine. Had they decided to end it at the ocean, symbolic of how far they'd all come, great. But both? No. As much as I enjoyed the move (for all of its faults and successes), the ending sort of ruined everything that had been effectively developed in the film. Honestly, I should be rating at 6, max (maybe a 5 for that ending). But I do feel the movie is a worthwhile watch, so I'm bumping it to 7. If anyone's read this spoiler-laden review and wants to watch the movie, I suggest turning it off when they're all sitting at the beach. If you keep watching after that, your opinion of the movie will probably sink. Keep the moment. If you can keep that moment, it is actually a thoroughly enjoyable movie with a fantastic (and believable) love story.

Great story. Heartfelt. Excellent performances all across the board. Lucky Blue Smith in his film debut is fantastic. The chemistry between the two lead characters makes this film come to life. Amazing cinematography, editing and score. It will take you on an emotional journey. Well worth watching.

As others have noted, this film is fatally lacking in plot and character development. It's extremely predictable and anticlimactic. To start off, we are supposed to believe this 6'2 platinum blonde Ken doll is somehow a loser who magically falls for the town outcast. Next, suspense is built around his girlfriends mysterious scar earning her the nickname "scarface", yet I've seen acne that looked worse. The entire story is centered around Blue, although his character lacks depth and intrigue, he barely has any lines, and spends most of the time pouting and smizing at the camera. Midway through the film, there are several long and awkward kissing scenes between the two (oddly named) main characters, who have about as much chemistry as I have with my pet. Finally, there is an arc about the main character having had a heart transplant, although he doesn't die and absolutely nothing comes of this, so might I ask, what was the point? It ends with Blue looking gorgeous in a skillfully tailored and very expensive suit, which solidified the subtext of this film. Actors need to embody the character. Giving a supermodel a strange name doesn't somehow turn him into a brooding, tortured soul.

Said it before and I will say it again. There is nothing wrong with the Indies, especially those expressing the vision of a single writer/director. They provide a place to improve skills, learn your craft, produce a better product. I have reviewed dozens of indies here and I expect to review a dozen more in the years ahead.But, indie or not, the audience is entitled to certain minimum levels of plausibility and character building, which unfortunately is in short supply here.Writer/Director Rob Diamond with hindsight may have stretched himself too thin. The core story is about a mother and son who escape an abusive relationship and go on the run with less than $200 in their pockets.The mother is textbook perfect, think Amy Adams on a good day. (Well played by Emily Proctor).The son (Lucky Blue Smith) looks like he escaped from the cover of Esquire (which I think he actually did) and suffers from a major medical problem. Which is aggravated by the fact that every school bully who meets him instantly wants to beat the snot out of him since he looks so damn good.On the run, their vehicle dies but -- back to suspension of disbelief again -- the car mechanic that they cannot afford to pay even for the tow "takes them in" with free room and board.Hold on, more disbelief to come. The mechanic, a widower, has a daughter who is psychologically scarred from a gun accident.Now, if you did not know that, and walked into the film late, you would look at the girl (Christie Burke) and see a supermodel who never wears makeup and has what appears to be a cat scratch on her right cheek. But according to the script, she is a damsel in distress who finally finds true love and acceptance from the equally attractive boy who is now staying in her dad's trailer... see? All these plot issues might have been solved by great writing, or great acting, or great directing. But the fact is that the entire film just sorts of floats by over its 90 minute length, milking these weak plot points for whatever they are worth.Which, at the end of the day, is not a lot.