One of the first movies to have been bought by Netflix amidst the ongoing COVID-19 pandemic is The Lovebirds, a film that was originally going to have a proper cinema release. However, it feels like it might have found it’s right home at Netflix, as the streaming service specialises in making light, frothy but quite fun comedies.
The film follows a couple, Jibran (Kumail Ninjiani) and Leilani (Issa Rae), who when they first meet, are deeply in love and crazy about each other, but fast forward 4 years later, the two are constantly at each other’s throats. On the verge of breaking up, they are brought together when they witness a murder, and become embroiled in a murder mystery. While attempting to clear their name (and uncover the truth about the mystery), they must figure a way how they (and their relationship) can survive the night.
As you can tell, the film is very influenced by 2010’s Date Night and 2018’s Game Night in how it features a central couple who become caught up in a labyrinthe mystery all over the course of one night. The film is directed by Michael Showalter, who previously directed the 2017 comedy film, The Big Sick, also starring Ninjiani. The film has also had some unfortunate comparisons to last year’s middling Stuber, another film starring Ninjiani, that also centred on the chemistry he had with his co-star (that time with Dave Bautista).
It’s safe to say that from the outset, the film is much, much better than Stuber, but nowhere near as brilliant as The Big Sick. The film is a fairly entertaining and amusing comedy, and is often the case with Netflix comedies, it passes the time well enough. It might possibly be better viewed in the background while you’re doing something else.
The real problem with the film is that it isn’t as tightly-plotted or clever as it should be. Although I say the film has a complex mystery at it’s core, the mystery itself never feels as complex, labyrinthe or satisfying as it should be. The film also isn’t as intense, thrilling or suspenseful as it requires it to be. For example, there is a sequence in this film, in which our main characters are tortured by the bad guys (by taking either hot boiling grease to the face or a kick from the horse), and yet the sequence never feels intense or scary, and ends up coming across as a tonally inept and unfunny moment.
Overall, we never feel the danger that the characters are going through, and we’re always pretty much convinced that they will make it out of the night in tact. This is crucial, because if you think about all of the most famous mystery comedies movies (like the Pink Panther films, 1963’s Charade, or last year’s Knives Out), they always strike a brilliant balance between high-stakes tension and funny comedy.
This is a shame, because something that Showalter did with The Big Sick was to handle numerous different tones with a real grace and ease. Possibly the problem with the film is that unlike The Big Sick, the film doesn’t have the wonderful writing duo of Ninjiani and Emily V. Gordon. Without them, the film doesn’t really strikes it’s tonal balance perfectly. Also, the film doesn’t seem to have the depth or just, plain ambition of The Big Sick. It is a pretty straightforward, down-the-line mystery comedy that doesn’t try to do anything new.
That being said, the film is still pretty funny. Rae and Ninjiani are too absolute brilliant comedic figures, and unlike Ninjiani with Bautista in Stuber, the have really terrific and buzzing chemistry. Also, strangely because Rae does not have much of a cinema resume (apart from the 2020 film, The Photograph and the television series, Insecure), the two of them are very charismatic figures that the camera clearly loves.
The humour is pretty standard, and at times cliched for a modern comedy. It is almost a check-list for jokes – there is a bit where our lead duo start nervously talking in front of a police officer; a bit where they start singing at loud volume to a song on the radio; a bit where they are forced to go to a supermarket to change clothes, and many more. The comedy is not very clever, or particularly innovative, but saying that, I did laugh. It does pass the 5-laugh test with ease, and that’s mainly due to Rae and Ninjiani bringing sizzling energy to an otherwise unoriginal screenplay.
The Lovebirds overall, might not be as ground-breaking or brilliant as The Big Sick, but coming a year after the very mediocre Stuber, it is a welcome return to form for Ninjiani. Coming out on Netflix, the film passes the film finely and is a welcome distraction for anyone wanting new content.