Anyone But You Review (2023)
Director: Will Gluck
Screenwriters: Ilana Wolpert, Will Gluck
Starring: Sydney Sweeney, Glenn Powell, Alexandra Shipp, GaTa, Hadley Robinson, Michelle Hurd, Dermot Mulroney, Darren Barnet, Rachel Griffiths, Bryan Brown
Sydney Sweeney and Glen Powell generate infectious chemistry in Anyone But You, a buoyant romantic comedy that blends laugh-out-loud moments with genuine heart. Though the heyday of mainstream romantic comedies has passed, this film arrives as a welcome reminder of why the genre endures: it delivers charm, physical comedy, and the emotional payoffs that audiences still love. As studios pivot toward big-budget franchises and tentpole spectacles, Anyone But You proves a mid-budget, slightly raunchy rom-com can still draw audiences and spark warm reactions.
Rather than a strict retelling, Anyone But You is a contemporary, loose take on Shakespeare’s Much Ado About Nothing. It borrows the play’s broad structure—misunderstandings, mistaken impressions, and lovers who spar as they fall in love—but it translates those devices into modern dating conflicts, social media awkwardness, and the particular anxieties of young adults today. The film opts to play its premise mostly straight, while still allowing moments of self-awareness that wink at rom-com tradition rather than fully lampooning it.
The story opens when Bea (Sydney Sweeney), a law student in Boston, meets Ben (Glenn Powell), a finance professional, in a coffee shop. A chaotic chain of events—Bea’s desperate rush for the restroom, a long line for the register, and a quickly ignited spark between the two—sets the tone. They talk late into the night at Ben’s apartment, revealing vulnerabilities: Bea’s uncertainty about pursuing law and Ben’s grief over losing his mother. They fall asleep together, but Bea wakes in a panic and leaves. When she returns, she’s devastated to overhear Ben criticizing her to his friend Pete (GaTa). Hurt and embarrassed, both walk away, and the incident festers into resentment.
Six months later the two cross paths again. Bea has left law school and ended an engagement; Ben has his own baggage. They discover their families are connected: Bea’s sister Halle (Hadley Robinson) plans to marry Pete’s sister Claudia (Alexandra Shipp), and the wedding is set in Sydney, Australia. Forced into proximity on the flight and then under the same roof for the duration of the trip, Bea and Ben must navigate old resentments while pretending civility for their loved ones. Predictable chaos and sharp comic beats follow as the couple grapples with pride, miscommunication, and the slow dismantling of their defenses.
Will Gluck’s direction keeps the rhythm brisk and the jokes frequent. The screenplay, co-written by Gluck and Ilana Wolpert, is packed with breezy dialogue and physical comedy—the kind of scenes that prompt genuine laughter. A few absurd bits land particularly well, such as a panic-stricken moment on a hike that turns into a comic display of vulnerability. Those beats sit comfortably alongside quieter scenes that develop emotional connection, including a sincere exchange where Bea soothes Ben’s fear of heights by singing Natasha Bedingfield’s “Unwritten,” a tender moment that reveals real affection beneath the banter.
Sydney Sweeney is the film’s standout. Best known for intense dramatic roles, she shows impressive comic timing and likability here—and her involvement as a producer suggests she’s invested in reshaping her screen image. Glenn Powell matches her energy, and together they carry most of the movie’s emotional weight. The supporting cast adds flavor: GaTa is a memorable scene stealer as Pete, delivering perfectly casual, funny beats, while Bryan Brown provides unexpectedly touching moments as Pete’s stepfather. Dermot Mulroney’s small but notable turn as Bea’s father feels like a nod to classic romantic comedies, adding texture to the familial subplot.
The film isn’t flawless. Some secondary characters, notably Jonathan and Margaret, remain underwritten; their relationships with the leads could be sharper, and their romantic arcs never fully register as true obstacles. That thinness slightly lowers the stakes during the film’s conflict points, making a few reversals feel manufactured rather than earned. But those shortcomings don’t derail the overall experience. The central dynamic—two people undermined by their own insecurities and miscommunications—remains convincing and emotionally engaging.
Anyone But You updates familiar rom-com tropes for a contemporary audience while paying tribute to the genre’s classics without becoming derivative. It balances broad comedy with intimate moments of vulnerability, leaning on the chemistry between its leads to keep the story grounded. The film’s blend of humor and heart, combined with energetic performances and polished direction, makes it an enjoyable entry in the modern romantic comedy landscape—a reminder that well-executed small-scale films can still feel fresh and affecting.
Score: 20/24
Rating: 4 out of 5.
