Rosaline (2022)
Director: Karen Maine
Screenwriters: Scott Neustadter, Michael H. Weber
Starring: Kaitlyn Dever, Isabela Merced, Kyle Allen, Sean Teale, Christopher McDonald, Minnie Driver, Bradley Whitford
Transforming Shakespeare into teen comedy is a familiar cinematic move. Films like She’s the Man and 10 Things I Hate About You demonstrated early on how the Bard’s themes of mistaken identity, thwarted desire and youthful rebellion translate naturally into high school and coming-of-age stories. Rosaline, produced by 20th Century Studios and released on Hulu, adopts that approach by expanding the Romeo and Juliet universe through the eyes of Rosaline, Romeo’s former lover. The film aims for lighthearted subversion rather than tragic weight, but it often lacks the depth to make its premise feel consequential.
Adapted from Rebecca Serle’s novel When You Were Mine, Rosaline centers Kaitlyn Dever in the title role: witty, sharp-tongued, and indignant after Romeo leaves her for her cousin Juliet. Rather than accept the situation, Rosaline sets out to sabotage the new couple. Her scheme revolves around showing Juliet there is more to life than infatuation with a single man, educating her cousin in worldly ways and steering her away from Romeo’s charms. When Juliet learns bits of the truth about Rosaline and Romeo’s past relationship, tensions rise and the familiar trajectory of the star-crossed romance resumes. Meanwhile Rosaline navigates a parade of suitors presented by her father, including the unexpectedly charming naval officer Dario, who introduces a softer romantic possibility for her.
Unlike many modern adaptations that transplant Shakespeare into contemporary settings, Rosaline keeps a period backdrop with elaborate sets and period costuming. The production design leans into ornate locations, lush gardens, and dramatic balcony scenes, giving the film visual grandeur. The wardrobe is a highlight: layered gowns and textured fabrics for the women are matched by detailed male costumes complete with swords and daggers. That commitment to visual authenticity is admirable, but it also creates a tension when the dialogue, attitude and soundtrack skew decidedly modern.
The film intentionally layers contemporary language, pop music and modern sensibilities onto a traditional Renaissance setting. For viewers who enjoy anachronistic humor, this blend can produce delightful moments. For others, the clash can feel dissonant: the modernity undercuts the period setting and occasionally makes jokes land awkwardly. This stylistic choice echoes other recent reimaginings that prioritize relevance and a more assertive female voice over classical restraint. While the desire to portray bold, independent women on screen is welcome, forcing a modern “girlboss” energy into stories originally suited to subtler character arcs sometimes feels like trying too hard to be current.
Although the screenplay does not always find a nuanced balance between past and present, the actors elevate the material. Kaitlyn Dever continues to build a strong and varied career, and here she brings dry wit and vulnerability to Rosaline. Her comic timing and inherent charm make Rosaline sympathetic even when the character behaves selfishly. Isabela Merced delivers a fresh and lively Juliet: youthful and innocent, yet with a teasing maturity that suggests she is not merely a passive romantic object. Their on-screen rapport gives the film its emotional center.
The supporting cast provides solid comedic support. Kyle Allen plays Romeo with a mix of naiveté and swagger; Sean Teale’s Dario offers a surprisingly tender counterpoint and develops convincing chemistry with Dever. Spencer Stevenson and Nico Hiraga add energetic reinterpretations of smaller characters, bringing unexpected laughs and modern comedic beats. Meanwhile, seasoned performers like Minnie Driver and Bradley Whitford appear in smaller roles that, while underused, add texture and occasional delight whenever they appear.
Despite its charms, Rosaline never fully commits to being either satire or sincere adaptation. It prefers to be amiable and breezy: a rom-com that leans into playfulness and teen-comedy tropes rather than exploring the darker, more tragic aspects of its source material. The result is a film that’s easy to watch and pleasant in short bursts, but not particularly memorable. Fans of Shakespeare seeking a poetic or transformative retelling will likely be disappointed. Conversely, viewers who simply want a bright, modernized romantic comedy set against a period backdrop will find it an agreeable ninety-minute diversion.
The production values, committed performances and occasional sharp lines make Rosaline an enjoyable, if lightweight, entry in the growing list of Bard-inspired reimaginings. It doesn’t reinvent its source or leave a lasting impression, yet it offers charm, humor and a few well-staged moments. As a casual watch, it fits the bill; as a bold cinematic statement, it falls short.
Score: 12/24
Written by Rehana Nurmahi
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