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Constrained by the need to conform to a safe, expected narrative structure, Crazy/Beautiful never does anything surprising, edgy, or remarkable (except perhaps allowing Kirsten Dunst to appear in unflattering makeup with a lank haircut).
The characters are familiar types: the wild girl on the edge; the hard-working, studious boy who is attracted to her like a moth to a flame; the caring father who doesn't understand his daughter; the free-spirited best-friend; and, worst of all, the wicked step-mother.
A hybrid of Mad Love and Save the Last Dance, Crazy/Beautiful boasts strong performances underutilized by a banal storyline that manipulates familiar characters into following a well-trodden, predictable path from point A to point B.“fun.” Free time—true free time, not five-minute social-media windows between meetings—gets crushed in adultland, and especially adult-relationship-land (it’s busy, squishing two people’s whole lives together! So, perhaps weirdly, leisure choices—what is fun, what is pleasurable, what is involved in a solid long weekend—come to define and structure relationships more than, I dunno, anything?