The next day finds Marnie and Hannah on good terms once more, eating cereal while Marnie resolves to get Charlie back – because if she felt bad in the relationship, she reasons, she feels even worse now.  To execute her plan, she visits Ray at work to get Charlie’s address – she’d never been to his apartment, which I think is telling of their relationship.  At the apartment (which, in the words of Marnie, looks like a Target ad, decked out in Charlie’s handmade furniture, which includes an awesome adult bunk bed), the two work out some things, or rather, he weakly rebuffs her advances, asserts that they have nothing keeping them together, then gives in, seemingly because Marnie makes a lot of promises, including one for more blowjobs (ahem, using sex as a tool).

They have awkward, mostly-clothed sex – AGAIN – and it pretty much serves to drive the point home for Marnie:  nothing will change this relationship.  No amount of anger is going to put passion back into their sex life, is going to make him treat her like anything less than a porcelain doll, a role she can’t seem to play.  So mid-coitus, she announces that she wants to break up.  I feel for Charlie, for sure, even though they clearly don’t complement one another.  And yet, the termination of their relationship is made bittersweet by a flashback scene earlier in the episode, depicting the night they met at Oberlin College in 2007.  It’s funny and sweet, as Charlie comforts Marnie  post pot brownie binge.  Jessa and Hannah are there, and Hannah’s ex-boyfriend Elijah (Andrew Rannells) is back, complimenting Hannah’s makeup as they jam to the Scissor Sisters in a nice callback to episode three.  Hannah of course claimed that she never would have guessed he was gay, but it’s pretty damn obvious.  This scene is the highlight of the episode and I hope so very much that we have more flashbacks.  But now the days of Charnie are seemingly no more, although I hope this isn’t the end of Christopher Abbott’s all-American hipster boy Charlie.  Who else can rock a button-down and a cardigan like that?

Meanwhile, Hannah is convinced by Jessa (who is swiftly becoming my favorite character on the show – I so hated her at first, but she’s so quippy, and with a fun attitude.  Maybe the things she says are just funnier with her British lilt, I’m not sure) that she is actually flattered by her boss’s hands-on attention.  The attention comes with the added bonus of him letting her get away with shit, like coming in 20 minutes late (which is better than six days late, like this review – sorry about that) or being totally inept at breaking down cardboard boxes.  The deal with Hannah is that I don’t often understand her motivations.  The impetus behind most of her words and actions seems to be that she simply doesn’t understand basic social cues.  She has to be told what to think in certain situations.  While Hannah seems to think that she’s wise and experienced enough to be writing a memoir, she’s perhaps the most naive character on the show, besides Shoshanna.  So I’m really thrown for a loop when she propositions her Santa Claus of a boss.  She thinks this is what he wants, with all of his inappropriate touching around the office, and besides, she’s disgusting, he’s disgusting (her words, not mine), why not just go for it?  Maybe she is flattered by this and wants to see if she can up those feelings by actually going all the way.  Maybe she’s really unhappy at this job, feels inept, and wants to either distinguish herself or go out in a blaze of glory, which she does after he rebuffs her advances.  Either way, she’s hoping to accomplish something by propositioning the boss, whether he takes her up on it or not, and she does:  she quits.

Next we find her at Adam’s apartment.  Now, Hannah has spent the entire episode reassuring everyone that she and Adam have come to a new level in their relationship after last week, when she confronted him and he responded by actually sweeping her off her feet in what seemed like a romantic gesture.  She’s been referring to him as her boyfriend and bringing it up whenever she can.  But as Jessa says, those types of guys will try anything once, and this proves to be the truth.  Adam is completely disinterested when she drops by, and assures her that, “these things have an expiration date,” six months or until someone is unhappy.  It stops being fun.  Hannah tries to entice him back by revealing that she almost slept with her boss (maybe this is why she did it?  To make him jealous?) but, like me, he just seems confused by the admission.  He asks her why she did that, and she says, “I don’t know.  For the story?”  It’s as much of an explanation as we’ll get from Hannah, who somehow manages to be both mysterious and an open book.  Later, Adam entices Hannah into one of his sexual fantasies, albeit a one-sided sexual fantasy, “for the story,” and she earns $100 bucks “for cab fare” in the process.  Sex as a tool?  Ka-ching!

Jessa has been busying herself this episode by going on a date with a past fling.  She gets all dolled up, he says they’re not going to sleep together, she affirms, they will not be sleeping together, then they sleep together (if that’s a term you can assign to an act that occurs in the span of 30 seconds up against a window sill).  It’s all rather boring, although amusing when she forces the dude out of her apartment, realizes that Shoshanna bore witness to the whole nasty business (she looks even more afraid of sex now, if that were possible.  Carrie Bradshaw probably never screwed a vest-wearing hipster in a windowsill), and calls her a nasty perv.  But at least, Jessa declares, she has proven that she can not be smote.  “I am unsmotable!” she says.  Okay, Jessa.  Sure thing, hon.  I have no idea what you’re talking about, but I will be using the non-word “unsmotable” approximately 87 times in the coming weeks.

This is probably the least amusing episode of Girls so far, but ultimately, it’s a pretty radical one.  Both Marnie and Hannah are out of relationships for the first time since the show began.  For Hannah this is less of a revelation, but really, who is Marnie outside of Charnie?!  I hope she’s a better person than she was in the relationship, because I am pretty sick of her.  I vote we see more of Jessa and Shoshanna playing out some Park Slope version of Perfect Strangers.  Also more flashbacks.  And maybe some non-white characters.  But what’s new?

We begin this week with the trailer for A Magic Life

The documentary, which is the debut effort of director Nelson Cheng, follows the trials and tribulations of three people in different environments and places in their life, all of whom are trying to build a career as magicians in modern society.

Via: /Film

Next up is the trailer for The Good Doctor

Click here to view the video on YouTube.

The movie marks the feature film debut of John Enbom, who has previously written for tv shows such as Veronica Mars and Party Down. Directed by Lance Daly, it stars Orlando Bloom, Michael Pena, Taraji P. Henson, Riley Keough, Rob Morrow, and Wade Williams.

Via: Collider

Following that, we have a new 4-minute trailer for The Amazing Spider-Man

Click here to view the video on YouTube.

The reboot of the popular superhero franchise sees Marc Webb take over directing duties from Sam Raimi, with Andrew Garfield donning the mask. Emma Stone, Denis Leary, Rhys Ifans, Martin Sheen, and Sally Field co-star.

Via: FirstShowing

Fourth, we have the official trailer for Dracula 3D

Click here to view the video on YouTube.

The movie is the latest effort from acclaimed horror director Dario Argento, who also co-wrote the script, and will make its debut at Cannes 2012. It stars Thomas Kretschmann, Rutger Hauer, and Asia Argento.

Via: Twitch

Next, we have the trailer for The Do-Deca-Pentathlon

Click here to view the video on YouTube.

This movie is the latest effort from the Duplass Brothers, who both co-wrote and co-directed, although it was completed prior to Jeff, Who Lives At Home. It stars Mark Kelly, Jennifer Lafleur, Steve Zissis, and Julie Vorus.

Via: Indiewire

Up next, we have the trailer for Won’t Back Down

This is directed by Daniel Barnz, last seen in theatres helming Beastly, who also co-wrote the script. It stars Maggie Gyllenhaal, Viola Davis, Ving Rhames, Holly Hunter, Lance Reddick, Oscar Isaac, and Rosie Perez.

Via: Cinemablend

We close things out this week with a trailer for The Words

Click here to view the video on YouTube.

The movie marks the co-directorial debut of  Brian Klugman and Lee Sternthal, both of whom also co-wrote this movie, and have worked together on Tron: Legacy. The movie stars Bradley Cooper, Olivia Wilde, Dennis Quaid, Zoe Saldana, JK Simmons, and Jeremy Irons.

Via: Deadline

The setting moved this week from the newsroom at the BBC studios to the countryside manor of Hector Madden’s in-laws, although the office still did figure prominently. This allowed for some character growth for individuals outside their natural environment, as well as allowing some of the secondary players, such as Clarence, Marnie, and Kish, their own chance to develop, as well as bringing back Andrew Scott’s character Adam Le Ray.

The prominent featuring of Marnie, Hector’s wife, added a significant amount of forward momentum to the budding romance between Hector and Bel. The writers, who have previously made a smart decision by choosing to forego any romantic tension between Freddie and Bel, instead making them close friends who are very comfortable with each other, made another smart decision this episode by choosing to forego a prolonged amount of sexual tension. The change in setting from a position where Bel had power and authority over Hector to one where the roles were reversed not only pushed the two of them together, but also allowed for Marnie’s discovery of the act, developments which I was frankly not expecting so soon. Oona Chaplin, who plays Marnie, did an excellent job this episode in her first substantial part on the show, and I hope she returns in the second half of the season.

The episode also helped develop Freddie’s backstory a bit more, and, by extension, allow him and Hector to get closer. Giving Freddie  little character touches such as his aversion to guns, helps make him a more rounded figure even if these particular details don’t come into play later on in the story. Likewise, Freddie’s interactions with both Le Ray and Kish were very telling of his overall character, and his ability to quickly decipher Angus McCain’s veiled barb continues to prove his journalistic capability, something the series has been able to show rather than tell, thus making it much more convincing. The mystery behind Darrell and Ruth’s murders also moved forward quite bit in this episode, which is another testament to the shorter season, as such a mystery would definitely have suffered from a longer season where it would have to move more slowly. The questioning by Clarence and Lix of Kish’s true motives thus also fit right in, both with their individual character motivations, and the larger idea of the crew of the news show working as a team and trusting each other’s instincts, and it was a subtle way of showing the bond among the group, even when they’re not physically together.

Overall, it was another strong episode of the show. Despite the news program being the centrepiece, the episode did not suffer by stepping away from it, particularly as the Suez Crisis loomed in the background, via phone calls, periodic updates by Lix and Isaac, and news reports, thus ensuring it was on everyone’s minds, even if it wasn’t at the forefront. Andrew Scott, who had a fantastic turn on Sherlock playing Holmes’ nemesis Moriarty, played Adam with equal sincerity and conviction, despite the two characters being radically different. Burn Gorman’s understated turn as Kish, whom it seems we shall not be seeing anymore, was excellent as well, as he managed to keep the character from going over-the-top or becoming unrealistic, which could have easily happened in the hands of a lesser actor. The show continues to maintain a strong pace with all its storylines, effectively drawing me into plot developments I thought I’d have no interest in as well, and it shall be interesting to see if the writers can manage to maintain these positive developments in the final three episodes.

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Via: The AV Club

It was interesting to note the effects of words and statements in this episode. Governor Chung’s seemingly innocuous statement set off the chain of events for the episode, and Meyer’s offhanded statement at the end of an interview ultimately became the focal point when the interview aired. The writers also made a very interesting shift by having Meyer be on the tail end of a hospital visit when the interview aired; by putting Meyer in an environment where people were actually grateful for her presence showcased a unique position, as she no doubt did not want to squander the goodwill she had earned by disagreeing with people who were, in essence, cheering for her, even if it was for the wrong reasons. It’s a tricky minefield for anyone, let alone a politician, to navigate. Meyer’s reception at the hospital also provides an interesting contrast to how she was received at Frozen Yoghurt two weeks ago.

Another fascinating aspect for this week’s episode was watching Meyer flip out and assert her position in the political hierarchy. Despite the season, and the series, being relatively young, in many ways the show has been building towards this moment. With Selina’s constant opposition from all quarters on both her Clean Jobs Initiative as well as her Filibuster reform, the brief taste she got of the Presidency, the upstaging she suffered at the hands of the First Lady with regards to the pet adoption, and the veiled threat to her job given by Governor Chung this episode, in many ways it was inevitable that she would flip out at some point, and even though this particular tirade was directed only at her immediate staff, if things continue to go the way they have for the veep, this may just be a precursor of things to come as the show progresses.

Dan and Amy’s attempts to court the extremist senators to support the veep’s filibuster reform was also intriguing to watch. As harsh and abrasive as Senator Doyle has appeared (and while he’s been entertaining to watch, working with someone like him can’t be easy), the presence of Senator O’Brien this week did wonders to illustrate  that Doyle was indeed the lesser of two evils. Similarly, Amy’s effective winning over of O’Brien and the influence he brings worked well in showing why, when push comes to shove, she is the Vice-President’s Chief of Staff.

Despite all of this, however, this week did have its fair share of comedy as well. Matt Walsh and Tony Hale do the majority of the comedic heavy lifting, but both are more than capable, so it’s not a cause for concern. The character of Gary is growing on me, particularly as his role of an invaluable but often chastised team member gets more well-defined. My unexpected favourite, however, is Sue, Meyer’s secretary, who has been a delight in the short amount of screentime that she has had. Each episode of the show has been better than the last, a trend which continued with this week’s episode, and I’m excited to see how the season progresses.

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With the ramifications of last week’s actions still requiring some dealing with, this week’s episode advanced the story in a not-quite-straight manner. It’s interesting to note that the show chose to use the events as a way to bring the Greendale Seven closer together as a group, instead of as a catalyst for their breakup. In lieu of having anything else in their life, the group’s attachment to each other seems to have strengthened to a potentially unhealthy degree, as they refuse to let Abed attend even a single therapy session on his own.

Britta’s insufferable belief that she understands human psychology despite having taken only one class in it continues to be amusing. We’ve all known individuals who have acted like they’ve got a deeper understanding of human behaviour and emotions solely from attending a class that others couldn’t possibly grasp, and it’s a testament to the writing and to Gillian Jacobs that Britta’s current routine comes off as funny instead of annoying. The group’s reminiscing of the antics that occurred at Greendale was also fun to watch, and recalled last season’s Paradigms of Human Memory, where the “flashbacks” were all new scenes.

It was also interesting to note the show’s declaration of the importance of Dean Pelton via the characters. Pelton and Chang have always worked as a form of comic relief for the show, often tending to take a backseat to the Greendale Seven, but both Jim Rash and Ken Jeong have had major contributions towards the show’s critical success, and the absence of either actor would be sorely felt. How the group’s realisation of Pelton being the driving force behind all their happy memories of the college alters the group dynamic will be interesting to view over the course of the show’s run.

One aspect of the episode that disappointed me was the under-utilisation of John Hodgman. One of Community‘s constant weaknesses has been an inability to play to their guest stars’ strengths, the most glaring example being the completely forgettable character handed to Paul F. Tompkins to play in last season’s Mixology Certification. Hodgman, much like Tompkins, is an incredibly gifted comedian whose sense of humour fits in very well with the show, but as the shady therapist, he wasn’t given any real opportunities to showcase his comic ability, ultimately making his role something any actor could have played, instead of something that’s uniquely Hodgman.

Overall, this was an enjoyable episode, and set up the three-part finale quite well. It shall be interesting to see if and how the show tops its prior season finales, as the bar has been already set quite high, but the last two episodes, as well as the precedents, point towards an exciting finale, regardless of whether it exceeds or falls short of expectations.

This week kicks off with a red-band trailer for The Dictator

Click here to view the video on YouTube.

The trailer is NSFW for language and potentially one childbirth scene. The movie itself is directed by Larry Charles, and reunites him with his Borat and Bruno lead Sacha Baron Cohen. Joining Cohen are Anna Faris, John C. Reilly, Kevin Corrigan, Aasif Mandvi, Bobby Lee, J.B. Smoove, and Sir Ben Kingsley.

Via: /Film

Next is the trailer for Crazy Eyes

Click here to view the video on YouTube.

The movie is the second directorial effort from Adam Sherman, who also co-wrote the script. The movie stars Lukas Haas, Jake Busey, Tania Raymonde, Madeline Zima, and Regine Nehy.

Via: First Showing

Following that, we have a clip from Killing Them Softly

Click here to view the video on YouTube.

The movie is the newest effort from director Andrew Dominik, and will make its premiere at Cannes. In addition to Ray Liotta and Sam Shepard, the movie also stars Brad Pitt, James Gandolfini, Richard Jenkins, Garret Dillahunt, Ben Mendelsohn, and Scott McNairy.

Via: Twitch

Fourth, we have a new trailer for The Odd Life of Timothy Green

Click here to view the video on YouTube.

The movie is written and directed by Peter Hedges, and stars Jennifer Garner, Joel Edgerton, David Morse, Ron Livingston, Rosemarie DeWitt, Dianne Wiest, M. Emmet Walsh, and Common.

Via: Cinemablend

Next up, we have the trailer for The Campaign

Click here to view the video on YouTube.

The movie is directed by Jay Roach, and stars Will Ferrell, Zach Galifianakis, Jason Sudeikis, Dylan McDermott, Brian Cox, John Lithgow, Josh Lawson, and Dan Aykroyd.

Via: Badass Digest

Next, we have a featurette on Safety Not Guaranteed

Click here to view the video on YouTube.

The movie stars Aubrey Plaza, Mark Duplass, Jake M. Johnson, Mary Lynn Rajskub, Jeff Garlin, Kiran Soni, and Lynn Shelton. It is the feature film debut of director Colin Trevorrow and writer Derek Connolly.

To close things out this week, we have the trailer for Kumaré

Click here to view the video on YouTube.

This is a documentary by Vikram Gandhi, an American who grew a following in Arizona by claiming to be an Indian spiritual leader as part of a social experiment. The movie won the Audience Award for Best Documentary at SXSW in 2011.

10. Bellflower (Glodell, ’11) – Woodrow & Milly

Evan Glodell’s visually striking, testosterone-riddled and highly ambitious debut does a lot of things right, one of which is chronicle the disintegration of his character’s Woodrow’s relationship in an agreeably unparalleled fashion. Following the aimless, hard-drinking gent as he and best buddy Aidan continue to prepare for the apocalypse via the construction of various doomsday devices (flamethrower and flamethrowing car included), Woodrow’s new-found love interest Milly is unceremoniously caught cheating on him with an ex-flame. Prompting the heartbroken man to plummet deep into a personal Hell filled with overwrought conflict and dire consequences, shit goes haywire as occurrences range from bad to worse to worst. All things considered, Bellflower is a treat from start to finish, and an innovative one at that despite its more amateurish qualities, but to chronicle a breakup by likening it to the apocalypse is a definite plus, and an aesthetically pleasing one at that.

9. In the Mood for Love (Kar-wai, ’00) – Chow Mo-wan & Su Li-zhen

This is a tricky one considering the central characters’ obvious reluctance in following in their unfaithful spouses footsteps, but as Chow slowly falls for his new neighbor, the platonic state of their relationship just isn’t enough. Chow wants something more than what his wife obviously can’t give him, and the chemistry that exists between him and Su Li-zhen is undeniable and ensures him that they’re meant to be. Despite the offputtingly subdued, purposefully reserved nature of the film in comparison to Kar-wai’s more provocative works, everything’s pieced together wonderfully as Su Li-zhen refuses to return Chow’s sentiments, resulting in what I consider to be one of the more heartbreaking and plain beautiful final sequences in the history of cinema itself.

8. All the Real Girls (Gordon Green, ’03) – Paul & Noel

A self-deemed “small-town love story,” one of David Gordon Green’s best chronicles the blossoming relationship between playboy Paul and young, impressionable virgin-type Noel, a.k.a. his best friend Tip’s (Shea Whigham) sister. As Paul begins to question his immaturity in relation to his mean streak of irresponsibility, he finds himself inexplicably drawn to Noel, resulting in their getting together to the chagrin of his closest peers. Things go south when Noel pays a visit to her friend’s lake house however, as she makes the mistake of cheating on Paul with a complete stranger. Devastated, Paul embarks on a predictable self-destructive, booze-filled rampage, struggling with emotions that he’s dished out to his less fortunate past lovers but presently can’t take. Both he and Noel learn a good deal about themselves throughout the endeavor, but the road to recovery isn’t an easy one for either of them.

7. Snow Angels (Gordon Green, ’07) – Glenn & Annie Marchand

The second of Sir Gordon Green’s to grace this list, Snow Angels isn’t as much about a particular couple as it is the tragedy that befalls a group of individuals living in Small Town, USA. At its core though, Sam Rockwell’s Glenn hadn’t been the ideal husband to Kate Beckinsale’s Annie, and although her stance on their separation is final, Glenn continuously tries to win her back prior to inevitably being shot down and finding himself drinking to excess on account of his obvious vice. When their daughter drowns as a result of Annie’s negligence, Glenn snaps and confides in his new-found religious faith to help him commit an equally tragic, sociopathically well-intentioned murder-suicide. Like In the Mood, this couple isn’t necessarily a couple; it’s how things culminate that earned Snow Angels and Rockwell’s impeccable performance a spot on here.

6. Happy Together (Kar-wai, ’97) – Ho Po-wing & Lai Yiu-fai

Gay couple Po-wing and Yiu-fai seek a fresh start via a road trip to Argentina that quickly goes awry, prompting the latter to frequently contemplate whether it’s better to remove yourself from a toxic relationship or stick it out for fear of being lonely. The emotional tug-of-war that exists between the two central characters compliments Kar-wai’s visceral integrity wonderfully as we witness the disintegration of a once love-filled partnership, illustrating both parties’ frustrations as deftly as possible. Additionally, the film proves to us that there’s nothing wrong with loving someone as a person if it’s too mutually unhealthy to remain romantically involved with them, and with that I can agree.

5. (500) Days of Summer (Webb, ’09) – Tom & Summer

A film that struck a chord with me few others have, Marc Webb’s (500) Days of Summer flip-flops between the happier and unhappier goings-on of Tom (Joseph Gordon-Levitt) and Summer’s (Zooey Deschanel) blossoming relationship, keeping in mind that the latter never believed in true love to begin with. Fervently standing by the notion that Summer is indeed “The One,” Tom does everything in his power to keep their relationship afloat and struggles desperately to get her back, only to get shot down and regress into a deep state of depression. Obvious quirks aside, the film really does what it does effectively, taking an honest look at the modern-day complexities that go hand-in-hand with modern break-ups. In the end, Tom realizes that there are other fish in the sea, and that he shouldn’t denounce his beliefs based on one failed go ’round with a cute coworker.

4. Blue Valentine (Cianfrance, ’10) – Dean & Cindy

Having driven almost three hours to catch this at 2010′s Philadelphia Film Festival, my high expectations for Blue Valentine were met and surpassed as writer/director Derek Cianfrance takes an alternately devastating and lighthearted look at the birth and death of love. Remaining uncharacteristic of other forays into similar territory thanks to unparalleled performances and a sheer level of authenticity rarely found anywhere today, it isn’t the easiest to watch, but the narrative back-and-forth helps to both break up brief bouts of despair and happiness. Granted, the less than desirable ending makes for an altogether depressing experience, but it’s a masterful examination of a floundering relationship nonetheless.

3. The Curious Case of Benjamin Button (Fincher, ’08) – Benjamin & Daisy

While David Fincher’s epic, slightly divisive go with Eric Roth’s script based on an F. Scott Fitzgerald short story shouldn’t quite belong here, it does, and I’ll explain why. Brad Pitt’s Benjamin was, in fact, “born under unusual circumstances,” and for that, we certainly can’t blame him. Combining visual panache with an enchanting, almost freeform central narrative and a melancholic yet wonderfully gratifying conclusion, the harsh reality behind Benjamin’s destined-to-be courtship with lifelong friend Daisy is exceptionally soul-crushing. Remaining hopeful as the reverse aging process allows these two inherently different individuals to briefly meet precisely in the middle, a realization pertaining to what will inevitably become of Benjamin pulls them apart, thus putting an abrupt end to the fairy tale relationship.

2. Annie Hall (Allen, ’77) – Alvy Singer & Annie Hall

As one of my favorite living auteurs of the present day and probably forever, Woody Allen has graced us with many a rumination on various aspects of the human condition; wittily and insightfully at that. Annie Hall, the first of Allen’s extensive filmography to acquire a great deal of notoriety, four Oscars included, focuses on polar opposites Alvy and Annie as the neurotic comedian falls for the slightly ditzy young Annie. Their relationship is an odd one, fluctuating between madly in love and resenting one another on account of their differing personalities. As you find out within the first forty-five seconds of the film, the couple’s recently split, and Alvy’s frequently hilarious recount of how they met and so forth makes for one of my all time favorite cinematic delights. It’s wonderfully charismatic thanks to Allen and Keaton’s chemistry (see also: 1979′s Manhattan), and the film as a whole does a great job in addressing the intricacies of relationships and what can often come of them. As a more refined, comedic take on the subject of getting together and splitting up, Annie Hall is definitely up there.

1. Eternal Sunshine of the Spotless Mind (Gondry, ’04) – Joel & Clementine

With the authenticity of this entry being debatable given Joel and Clementine’s awkward attempt at reconciling during the film’s final sequence, this film reigns supreme over other entries on account of it being a viable contributor to my initial interest in film as a whole. A predictably imaginative, frequently engaging script from Kaufman and Gondry’s knack for expertly realizing the writer’s vision make Eternal Sunshine what it is: a quirky, altogether yet appealingly offbeat “What if?” scenario focusing on technology that allows us to erase lost loved ones from our memory. If only things were that simple, right? Unfortunately for Joel, his impulsiveness in retracing his ex-girlfriend’s footsteps by having the procedure performed on himself is regrettable, and as to be expected, time runs out and the damage has already been done. Fate somewhat leads them back to one another following an endless stream of time-jumping dreamscapes, but who’s to say that they’re not doomed to walk the same path when and if they get back together? Ponder that, if you please.