The Greatest Hits

A run-of-the-mill romance.

Although it’s a brave move to use structural elements of Slaughterhouse Five as the foundation of a rom-com, Benson’s reach exceeds his grasp.

Somber depictions of grief don’t always make for great movies. Director/screenwriter Ned Benson ekes out a decent one in this sensitive romantic triangle.

Benson’s high-concept love story might be unique, but it’s not reinventing the wheel. That’s as much a virtue as it can be a vice, as The Greatest Hits is sampling the classics whenever it can.

If The Greatest Hits is any indication, I guess they just don’t make time-travel movies like they used to.

Boynton sells her role as the lovelorn crusader with class while the wall-to-wall music, including tracks from Lana Del Rey, The The and a knockout cover of the Cure’s Friday I’m in Love, does a lot of the heavy lifting.

The Greatest Hits was almost a good movie if it could have plumbed the depths of these characters a bit more. Instead, it is a forgettable romance with one of the best soundtracks in recent memory.

Like a vinyl record that keeps skipping.

The Greatest Hits has its moments, but is in need of a remix.

Unfortunately, the film -- while serviceably acted -- lacks any sense of fun or inspiration, refusing or unable to expand on its premise in a way that would justify being a feature film rather than a ten or fifteen-minute short.