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We’ve seen Bea’s story Wild flower in the past. Film has been a suitable medium for adapting “coming of age” stories that range from the hilarious to the seriously dramatic, and such stories have even grown into a subgenre of comedy and drama that always seems to work. At least someone has to be connected, and success can be measured when everything in the third act aligns with the fulfillment of the promise made at the beginning: everything has to be in harmony.

Wild flower faithfully taking into account this very rigid set of rules. There is no other way than to paint Bea’s story as agonizing but ultimately fulfilling. Standard scenes and characters appear, following the narrative structure. We, the audience, as much as we are used to these stories, always look up to the twists and turns. Wild flower there aren’t many of them, but a great performance makes the biggest difference Kiernan Shipka and the always reliable Dash Mihok. The rest are an admirable cast who feel trapped in a clichéd film that feels limited but engaging.

Regardless, it pays off. This is an interesting film because of the improbable things in it. The story of Bea, a girl raised by intellectually disabled parents. He’s always felt responsible for taking care of them, and the rest of the family isn’t quite connected to their core. The three of them have their own dynamic, and this has made Bea an anxious but mature teenager. When an accident leaves her in a coma, the family comes together to support each other and we hear Bea travel back in time and analyze her entire life and the events leading up to the accident.

Again, Wild flower relies heavily on Shipka Bea and not exactly on the fact that it’s based on a true story. Director Matt Smukler he doesn’t play with plot attempts and chooses to follow the standard. This does it Wild flower it’s engaging at the beginning, but then loses steam in the second act, when Bea’s character is established and she starts playing with the subtly funny but unremarkable comedic moments.

However, there is something quite honest about how Wild flower it stays within the boundaries of dramatic territory and doesn’t risk much. The “mentally disabled parents” premise is used at times to speed up the drama and comedy, but it quickly shows that this isn’t what Smukler does best with his film. It is reading between the lines and observing the dynamics from the outside. The organic texture of Bea’s journey ultimately draws you in, even when it seems unlikely that it happened. Still, we let it slide in favor of a family-friendly drama that checks all the items on the list and makes for a decent watch with a great cast.

Seriously, why doesn’t Miho appear in movies more often? The man is a legend who we forgot too soon. But hey, there’s always time for a comeback and he can do drama as well as anyone.

Founder of Screentology. Member of OFCS. RT rated critic
Dog daddy.