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When it comes to romantic comedies, it’s not where it’s going — that’s a foregone conclusion — but how it gets there. The way the central couple navigates the twists, turns, roadblocks and unforced errors that entangle their budding relationship is the beating heart of these films. It’s what sets each one apart and delivers its entertainment value. That’s the test: pass or fail.
Which brings us to “Finding Emily,” a sweet new entry from Working Title Films, the producer of such gold-standard rom-coms as “Four Weddings and a Funeral,” “Notting Hill” and “Love Actually.” It may not be destined for a place alongside those favorites, but “Emily” has a wonky charisma all its own that just might satisfy fans of those British charmers.
That’s because the film’s journey, which follows Owen, a struggling musician (Spike Fearn) searching for his vanished dream girl with a hand from a cynical psychology student (Angourie Rice), may not feel quite captivating or propulsive enough to carry its pie-in-the-sky story to its inevitable finale. As someone behind me at the end of the film’s screening said, “Well, that plane took a while to land.” I can’t fully disagree.
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Fortunately, the movie, inventively directed by first-time feature helmer Alicia MacDonald, is anchored by a pair of winning performances by Fearn (“Alien: Romulus,” “Ella McCay”) and Rice (2024’s “Mean Girls” musical). Their quirky, endearing moments and oddball chemistry often patch over — or at least divert us from — the contrivances and bits of filler in Rachel Hirons’ busy script.
Owen, who works as a sound engineer at the Manchester City University student union, falls headfirst for an enchanting redhead (wearing fairy wings, no less) named Emily (Sadie Soverall), whom he meets at a party. But when he tries to text her the next day, he realizes the number she gave him is missing a digit. Was that on purpose or an accident?
No matter, Owen is obsessed with finding her, even if he doesn’t know her last name and there are 318 Emilys in the campus directory. A false lead misdirects him to one of those women, Emily Raine (Rice), a psych major writing her thesis on the “self-sabotaging madness” of romance. It’s a theory clearly waiting to be blown to smithereens.
Their meet-cute develops into an offbeat friendship when the “wrong Emily” (is she really?) offers to help lovestruck Owen track down the “right Emily” (is she really?), secretly using him as a real-life case study to nail her dissertation. If she succeeds, the Iowa transplant will be able to secure the work visa she needs to stay in her adopted England.
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It’s a device that adds to the character’s urgency, if not her likability. Though in true rom-com fashion, this Emily is appealing in other required ways — and is also adorable. The plot kicks into high gear when, again to fuel her thesis, she deviously provides Owen with a contact list of every Emily in the college database and suggests he mass-email them to locate the elusive, fairy-winged Emily.
This goes all kinds of wrong, setting off a viral brouhaha and turning the hapless Owen into an unwitting pariah. The loud-and-proud gang of Emilys brands him a stalker and a “toxic incel” (as well as the jauntier “Email Guy”). The mania is compounded by Owen’s stab at damage control when he appears on a campus podcast hosted by a savvy button-pusher (Nadia Parkes, pitch-perfect), unaware the show is going out live on video. Oh, and none of this results in a response from his desired Emily.
Amusing and brightly satirical as this turn of events is, it begins to feel more like a tempest in a teapot than the sustainable story engine Hirons was aiming for.
The film hits its predictable highs and lows as the mismatched Owen and Emily get closer and romantic complications mount. The search for “Fairy Emily” yields some anticlimactic results.
