Erica Vandross (Zoey Deutch) is an oddly promiscuous seventeen year old girl who enjoys getting herself into trouble. Luke Sherman (Joey Morgan) is a former drug addict, recently released from rehab. He’s overweight and has been placed on one of the most ridiculous diets ever, including no carbs, no sugars and no fun. These two teenagers have no business being friends with one another, but as we all know, opposites tend to attract. As the two unique teens grow closer and closer to one another, Luke’s past takes them down a path that no one could have ever predicted, twisting and contorting their lives in the most dramatic of fashions. Flower is the story of their relationship and the unprecedented journey on which it takes them. Love, hate, compassion and the human psyche have never been seen like this before.
There is something unique about Deutch that allows her to succeed in such incredible ways. Her face, in particular, plays a significant role in what she is capable of doing on screen. Her face is both arrogant and attractive; viewers can see a beautiful juxtaposition of love and hate present in her smile and her scowl in nearly every second of her performance throughout Flower. She looks like she’s constantly judging everyone in her path, but somehow manages to express a sense of acceptance as well. Deutch’s ability to manipulate her face makes her the perfect fit for the role of Erica, as she is required to play both the innocent teen and manipulative shrew at the same time. She nails the role and entices viewers in a number of ways throughout Flower.
Like Deutch, Flower quickly makes dramatic changes throughout its course. While it begins entirely as a comedy it quickly changes from funny, to borderline psychotic, to completely and utterly screwed up. As the film shifts in texture, tone and mood, viewers cannot help but to feel a bit overwhelmed with the events that occur. As viewers are dragged down a turbulent road, they grow more and more uncomfortable, which appears to be exactly what director Max Winkler wants. He finds success in developing a unique combination of emotions that keeps viewers on edge, but wanting more. As the protagonists string viewers along (meaning they tantalize them with a series of oddities), they dive deeper and deeper into the human psyche, while just barely managing to scratch the surface. While Winkler provides much insight into the reasons why people do the things they do, he essentially leaves much up to the imagination, providing those viewers a reason to stick around and endure the insanity that is Flower.
While the term that best describes Flower is, in fact, insanity, and it continues to make viewers feel uncomfortable, the position in which many of the characters find themselves reflects the various scenarios that people face on a regular basis--even if on a metaphorical level. Winkler, with the help of the incredibly talented Deutch (and Morgan), develops a film that touches audiences in the strangest of ways, but manages not to get too mushy and emotional. Flower focuses very heavily on the characters and the ability that each of the actors possess. This approach allows viewers to feel a connection to most of what takes place throughout the film, adjust to the uncomfortable nature of the story, and appreciate both the subtle and outlandish comedy.
Directed by Max Winkler. Written by Alex McAulay, Matt Spicer & Max Winkler. Starring Zoey Zoey Deutch, Kathryn Hahn, Tim Heidecker, Adam Scott, Joey Morgan, etc.
⭐⭐⭐⭐⭐⭐⭐⭐½/10
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