Stenberg's relaxed charisma carries what is a rather preposterous premise... Aside from its leading lady, what "Everything, Everything" has going for it is its light, fantastical aesthetic and unexpected sense of buoyancy.
Stenberg and Robinson are enormously appealing young actors, but charisma only goes so far in a story that manages to be, as directed by Stella Meghie, sterile and wildly far-fetched.
Only partially succeeds in being the right romantic medicine.
Engrossing and not too sugar-sweet, Meghie's movie is slightly paranoid, surprisingly fantastical and superb at translating the overwhelming stupor of first love with big, bold shots and a banging soundtrack.
"The Fault in Our Stars" meets "Room" in "Everything, Everything," a confounding psychological drama masquerading as a cutesy teen love story.
"Everything, Everything" is a flawed film in many ways, but there is one that's a deal breaker: It doesn't make you cry.
If you're spending the running time of a movie like Everything, Everything being annoyed by plot holes rather than swooning over every chaste kiss and meaningful look, you're probably too old and cynical for it anyway.
With fewer longing stares out the window and fewer plot holes, maybe this movie could have turned into Something, Something.
"Thinking is overrated," says Olly at one point; it's probably the best philosophy with which to approach this film.