Nick Robinson and Zoey Deutch star in Voicemails for Isabelle, a Netflix romcom that struggles to balance its creepy premise with romantic comedy tropes. The film follows Jill (Deutch), who leaves voicemails for her deceased sister, only to have them answered by a stranger, Wes (Robinson), who uses them to track her down.
A Premise That Straddles Genres
There is a fine line between romantic comedy and creepy thriller, and Voicemails for Isabelle attempts to walk it. Writer-director Leah McKendrick winks at the audience, acknowledging the unsettling nature of the story through characters who call Wes a "creeper" and compare the situation to a "sick reboot of You've Got Mail." However, the film fails to fully commit to either genre, resulting in a muddled tone.
Familiar Tropes, Unearned Charm
The film leans heavily on romcom clichés, including two Taylor Swift songs, a running-in-the-rain climax, and meticulously curated outfits. Despite its glossy production, the movie lacks the charm needed to make its premise work. It tries to modernize the genre with buzzwords like "gaslit" and "love bombing," but these feel forced rather than organic.
Comparisons to Love Again, a 2023 romcom with a similar plot, are inevitable. While that film was entertainingly bad, Voicemails for Isabelle is merely mediocre, too bland to be a guilty pleasure.
Performances and Direction
Zoey Deutch, previously engaging in Something at Tiffany's, struggles here with a character defined by affected quirk rather than relatable depth. Nick Robinson is indistinctive, failing to convince as a romantic lead. The film's self-referential nods to romcom tropes demonstrate awareness but lack clever execution.
At nearly two hours, the film drags, attempting to balance feminist messaging with a predictable ending. McKendrick's attempt to blend old-school romance with modern sensibilities results in a stale product.
Voicemails for Isabelle is now streaming on Netflix.
