Ian (Alex Pettyfer), tortured artist and mediocre writer, is in a rut. He’s not happy with his latest novel, even though his agent is, and his editor at a leisure and travel magazine wants him to cut out the purple prose and get his articles filed. His girlfriend, American Blonde Kate (Jessica Serfaty), is annoyed that he’s never around. Unsurprisingly, she’s having an affair. Fortunately, he’s just been writing a feature on a gorgeous Italian countryside villa in Puglia, so he knows exactly where to go for his post-breakup recovery.
Obviously, there is a beautiful woman – Ariana (Eva De Dominici) – who works there. Obviously, she and Ian have an unfortunate first meeting and she takes against him, assuming he’s a somewhat slimy flirt. Obviously, again, Ariana’s father Giacomo (Andy Garcia) assumes a spark between them and watches on with a twinkling eye.
Ariana is a pretty terrible host, making fun of her guest near-relentlessly. Giacomo’s not much better; he ropes Ian into helping out with some kind of school trip to the family’s groves, which does not seem like a good way to rest or relax. It does give Ariana an opportunity to fawn over his ability to give a child a box to stand on, though. Other things that charm her include Ian’s skill in lifting large rocks to unblock a well.
Toni Collette (inexplicably) plays Ian’s aunt Audrey, a successful writer who offers briskly efficient advice and steals the show in every scene. Far more compelling than the central couple are Audrey and Giacomo, whose second-chance-at-love story is sweet, includes the few bright moments of the screenplay and has actual chemistry. Collette’s ability to add depth to the character makes everyone around her seem even more flat; if the film were rearranged to put her at its centre it could be a worthwhile addition to ‘middle-aged women are people’ cinema, but alas. We are stuck with the younger set.
A crucial part of Ian’s character is that he is a writer. Apparently, a vaguely well-received one. Yet every excerpt he reads aloud, in an overly portentious tone, is bad. Even his explanations of his work are painful to hear. In describing how he plans to finish his latest tome, he tells Ariana of his protagonist: “He realises that home is home, and home is wherever she is, and that she is his home.” It’s painful. What’s worse is that both he and those around him are convinced of his greatness.
It’s a microcosm of the poor writing overall. Characters flip-flop in their emotions and morals, situations are contrived, even by romcom standards. One scene in particular, set at a town festival, that would be great with better pacing – but as it stands, events move sluggishly and the sharp tension that the music suggests is absent.
This issue extends to the editing, where some cuts between scenes are distractingly sharp. Ian’s agent Andrew (Rob Estes) is occasionally seen in cutaway scenes looking stressed and businesslike as he tries to get in touch with his wayward writer, blink-and-you’ll-miss-them moments that look like they’ve been put in as temporary placeholders.
Under The Stars has a passable if generic idea of a plot, but is let down by bland and clunky execution. Shots of beautiful Italian landscapes can only do so much to distract from the complete lack of substance.
Under The Stars is available now on Prime Video. Distributed by Signature Entertainment
