“Is there anything Anna Kendrick can’t do?” That was an actual note I made during the screening of The Last Five Years, right after Kendrick finished singing her first song “I’m Still Hurting.” Wow–not only has this girl proved she has the acting chops to be taken seriously as both a dramatic and comedic actor, but she has also mastered the overly-critical genre of the musical (See: Into The Woods). In The Last Five Years, Kendrick plays Cathy, a struggling actress, who meets and falls in love with budding novelist Jamie, played by Broadway veteran Jeremy Jordan, and sees their proceeding five-year relationship chronicled through the good times and the bad. But while Kendrick is the obvious life-force behind this film, unfortunately even she cannot save the unbalanced and lackluster story.

One of the film’s most unique attributes is also its biggest flaw–The Last Five Years is told almost entirely through song and from Cathy and Jamie’s own perspectives. Cathy’s songs and story begin at the end of her and Jamie’s relationship and works backward in time while Jamie’s songs start at the beginning of their relationship and move forward. Their stories connect in the middle when Jamie proposes which, yes, gets confusing. Think of it as Rent meets The Disappearance of Eleanor Rigby Him/Her, meets Inception. 

Jordan should have played more with  Kendrick as opposed to against  her– their performance already lacked the depth needed to really care about these characters, but he makes it too easy to choose sides in their relationship and be much more sympathetic towards Cathy’s heartbreak than his own.

The structure is very layered and can get confusing at times, and the cinematography doesn’t do the film any futher favors. Most of the scenes are shot handheld-style and (intentionally?) shakey, which further highlights the film’s unbalance. There are, however, steady, sweeping long takes that I absolutely loved, and wished lasted the entire film. Since The Last Five Years was adapted from a Broadway play, I understand the homage to the original with the long takes and letting the actors have space to play with the camera following, but having a more subdued handheld approach would have better served the film, and given the actors more of an empty pallet to play with.

Speaking of actors, I’ve already professed my utmost admiration towards Kendrick, who gave life to every single word she sang and whose passionate voice equally matches her talent. Jeremy Jordan, while undoubtedly a talented singer, didn’t fit in as well. His overly charismatic attitude and over-the-top gestures make him an easy target to classify as a “stage actor” as opposed to a “film actor.” His presence is very large, too overbearing and animated for the silver screen. Jordan, who originated Jack Kelly in the original Broadway production of Newsies (the best musical ever made says this reviewer) should have played with Kendrick more as opposed to against her–their performances already lacked the depth needed to really care about these characters, but he makes it too easy to choose sides in their relationship and be much more sympathetic towards Cathy’s heartbreak than his own.

For musical theater buffs, The Last Five Years coming to the big screen may raise questions of execution–just how can a love story told from two different perspectives during two different points in the characters’ lives translate on screen? While the Broadway run had the characters break the fourth wall and sing out to the audience, Director Richard LaGravenese, whose previous projects include P.S. I Love You, takes on the ambitious task of adapting this made-for-the-stage musical into a niche, “Un-Hollywood” movie. He succeeds in staying true to the original show, keeping the score true and the story the same, but this seems to be one of those adaptations that didn’t quite hit its mark.

Unlike stereotypical films, the ending here is bittersweet. Don’t expect to leave the theater smiling, but you can count on trying to recall all of the songs and attempt to sing them on the way home. Because of the nature of the story and the niche genre, I’d predict that The Last Five Years won’t have much staying power past its opening weekend, but for those who are either familiar with the play or are fans of musicals, this is right up your alley. Those of you who aren’t…well, go into it with an open mind.