I'm not even going into the ridiculous, one after another, plot holes because numerous others here have.
I would happily listen to ANYONE who could explain to me how this title made it out of script review and onto the screen. Is it simply that there is a demographic of women, I guess, that find the main character, David, so dreamy that they overlook how ridiculous the story is? David accidentally runs down, with his car, and kills a cyclist whom, it turns out, he'd just met and flirted with at a bar. With him at the time of the accident is his new next door neighbor, of about 24 hours, Robert, who has developed a massive crush on him. Never mind that they don't even know one another.
As this becomes increasingly more ridiculous, David , the guy who actually drank, drugged, drove, and killed, is portrayed as a victim who wouldn't have been in this mess if the cyclist had used a light, not worn such dark clothes, and the country road they were on in the middle of nowhere had had a bike path??? Ok.
But he does have the dreamiest eyes, which brings us to Robert. Apropos of nothing, no background, no motive, no establishment of psychopathy, nothing, Robert has become a serial killer in the quest to keep he and David together, except they're not together. But you know, Robert is "gay," so you know... He has sunken the killer car into a lake, killed a witness, killed David's boss, killed David's real romantic interest, the dead girl's sister (don't ask) twice!! Don't worry, she comes back to life both times because, you know, suspense.
I found the comfortable ease with which the actual killer was repeatedly rehabilitated: he almost turns himself in, he rebuffs Robert, sort of, he's got super dreamy eyes, and he's straight. This film would propose that even if his actual actions are reprehensible, his inner intentions are good. And don't forget the super dreamy eyes. Then on the other hand, Robert is just as easily and comfortably villainized with no pretexted or context, other than him being "gay." As in: "gay" = murderous psychopath. Welcome to the cinematic return of the 1950s pro-forma "gay" villain.
In any other film, a guy who drinks, drugs, drives and kills, is the villain who's only just outcome is to be tried, convicted, and in prison. Here, he's the love interest. And by comparison to the "gay guy", soooooo much more preferable, because of the dreamy eyes. I'm guessing the demo for this genre is the prison pen pal, soon-to-be bride, of an incarcerated murderer. Even so, I would hope that they would be put off by this hash of a script/story/film.
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