The Boy Downstairs doesn’t excite, it doesn’t entertain and really it doesn’t actually do much at all
Without Woody Allen, The Boy Downstairs simply would not exist. Its influences are dramatically clear, and its difficult to imagine there are any other than Allen. It would be unfair to judge the film because of someone who has absolutely nothing to do with it, but the current views many hold on Woody Allen has certainly made this style of film remarkably unpopular. Especially when the film is as openly boring as The Boy Downstairs.
Diana (Zosia Mamet) returns to America after graduating from university in London. Stuck in between education and adult life, Diana gets a job in a wedding shop, and sets out to find herself somewhere to live. However, after moving in, she discovers that her downstairs neighbour just happens to be the boy she left behind, when moving to London.
There seems to be a constant lack of content at even The Boy Downstairs’ most vital moments. Chronologically, the film relies on its pre-London scenes to set up the love affair for post-London, but there simply aren’t enough of them, nor enough substance within them. There is very little time spent supporting the relationship that the audience is meant to root for.
There is an inordinate amount of time given to Zosia Mamet instead, as she pines for a lost love, failing to fully commit to becoming a character piece; mainly because Diana seems to lack any real character. Combining that with the awkward and uninvolving Matthew Shear, they really don’t make a great partnership, let alone one that becomes easy to root for.
The Boy Downstairs doesn’t excite, it doesn’t entertain and really it doesn’t actually do much at all. It’s hard to hate because there is such a lack of substance and the story doesn’t allow for them to flow or grow. It’s essentially the perfect example of a film lift music.
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