Warning: The following review contains some spoilers and discusses domestic violence.

With her cascading blonde hair, long legs, and toothpaste-commercial smile, Blake Lively is the epitome of the sun-kissed California beauty. It was actually a little far-fetched that she played some sort of Upper East Side princess in Gossip Girl—she’s surf boards and Laguna Beach all the way. But we bought it, mostly because her primary purpose on that show was to be the foil to the jealous Blair, who wanted the effortless charm that Lively’s Serena possessed.

In It Ends With Us, based on Colleen Hoover’s wildly popular novel (as seen on TikTok!), Lively does not have blond hair, but a mess of cooperative red curls, the sort that exist far more often in romance novels than real life. She wears flowy, artfully mismatched clothing—I spied some Magnolia Pearl, notorious for their expensive schmattas; she also seems to favor these architecturally complicated chainmail boots. She opens a flower shop in Boston, straight out of a “Bohemian Flower Shop” Pinterest board. It’s all a little ridiculous. It seems like cosplay.

Lively’s incongruous casting is a perfect metaphor for the film, which also seems to be suffering from an identity crisis.

At first, It Ends With Us seems like a love story. Lively’s Lily Blossom Bloom—yes, the film makes fun of the name, which feels like cheating since they’re the ones who gave her the name—meets hunky neurosurgeon Ryle Kincaid (Justin Baldoni, who also directs) on a rooftop. (For the record, they also make fun of his soap-opera-ready name. Again, YOU NAMED HIM THAT.) She’s up there contemplating her father who just died, but whom she didn’t really love. (More on that in a bit.) Ryle comes on the roof to vent about something—he assaults a chair. Knowing that the film was ultimately going to be about domestic violence, I thought this was a good touch. They’re showing that he has a bad temper. And yet, for a while, Ryle is nothing but a dreamboat. Although he’s a notorious playboy, he vows to change his ways for Lily. He’s doting, sincere, patient. There’s a minor road block once it’s discovered that Ryle is the brother of Lily’s best friend, Allysa (Jenny Slate, here to save us). But their love cannot be stopped! With Allysa’s blessing, Ryle and Lily get married.

Okay, but let’s back-up a bit. In flashbacks, we also see glimpses of Lily’s first love, a homeless boy named Atlas (stop laughing). In those flashbacks, Lily is played by Isabela Ferrer and Atlas is played by Alex Neustaedter, who both only glancingly resemble their older counterparts. The flashbacks here are doing a lot of heavy lifting: They’re showing us Lily’s first love and showing us that Lily’s father beat Lily’s mother and eventually Atlas, when he discovers the boy in bed with his daughter—but they feel perfunctory. Baldoni seems much more interested in the scenes depicting Lily’s adult life (maybe because he’s in them?).

And then Ryle hits Lily. It kind of comes out of nowhere. This film would’ve been notably better if they’d established Ryle’s violent tendencies—getting jealous at a bar, maybe, or being enraged when his much-loved Bruins lose a game. Yes, we saw him assault that chair on the roof, but that was it. Beyond that, he was Prince Charming. Ryle gaslights Lily (and to a certain extent us) into thinking it was an accident. (The film intentional holds back on showing us the extent of his violence until later on.) Lily covers her bruise with some makeup and they go out for dinner with Allysa and her affable husband (Hasan Minhaj). The waiter looks kinda familiar? You guessed it, it’s Atlas, all grown up now and sporting a non-threatening beard (he’s played as an adult by Brandon Sklenar). He’s not just their waiter, he’s the restaurant’s owner and chef. (He is the Swiss Army Knife of convenient plot contrivances.)

Atlas sees the hastily covered bruise on Lily’s face and immediately groks what’s going on, even if she refuses to see it. He and Ryle fight and this is the beginning of the end, as Ryle becomes consumed by jealousy.

I experienced a fair amount of cognitive dissonance watching It Ends With Us—it plays like a sun-dappled romance that suddenly turns violent. (Apparently some people, expecting it to be an uncomplicated love story, felt deceived by the sudden change in tone.)

I appreciate the fact that this is ultimately a film—and book—about ending the cycle of violence. We’ve evolved past the “fall in love with your rapist” trope, thank goodness. But it feels like they want to have their cake and eat it, too, here—a hot romance with beautiful people and a “you go, girl” film about a woman rejecting her violent lover. And then there’s Atlas—chef, waiter, restaurant owner, former homeless kid turned bearded king—waiting in the wings. Is the answer to leaving your abusive husband having a better alternative on deck?

In one of the interviews for Checkmate, I heard Anoop Menon talking about why he decided to do the film eventually. His wife told him that as he is anyway doing a lot of trashy movies these days, why don’t he just do this one too? Well, the end result of that push from his better half has only resulted in the creation of a film that can damage your brain cells. Checkmate is basically an amateur short film that got good funds to enhance its production quality. With a generic story getting tortured by silly screenplay experiments, the movie from Ratish Sekhar is easily the best thing you can recommend to your enemy.

Phillip Kurien, the head of a pharma company that is facing allegations of illegal drug trials, is our central character. His partner Jessy is trying to help him from all the legal troubles by doing her bit. What we ultimately see in the film is the history of these two, the people connected with them, and what they had to go through because of their inhuman actions.

It actually took a while for me to understand the whole story because the film’s screenplay has this nature of going after characters pointlessly for a long time. The narrative shifts from 3 months ago, 12 months ago, the day of the kidnap, 5 minutes before the kidnap, etc., in a very pretentious way to make the audience feel that some sophisticated filmmaking is happening. But the dialogues, be it the Malayalam ones or the English ones, are so theatric that some of them reminded me of that Vipranasam short film. Looking at the way the writing gets lost in unnecessary subplots, you would feel like poking the director to cut the chase and come to the point multiple times during the film.

Anoop Menon appears in multiple looks in the film, and the very first one reminded me of that deleted scene in the climax of Mohanlal’s Mr. Fraud. The guy who sat behind me was saying, “What happened to Khureshi-Ab’raam?” The name of the character might well be Phillip Kurien, but Anoop Menon makes sure that Phillip will act like Anoop Menon. This is perhaps the second misleading thing Lal has been a part of after that rummy ad. Rekha Harindran, who makes her debut through the film, has won the Kerala Film Critics Award for her performance in this movie. Being someone who reviews films, I just want to clarify that I have no association with that organization. There are a lot of debut actors in the film, and I think they all have this hope that the audience would applaud them, like how families root for kids in kindergarten during the annual day performance.

The story, screenplay, music, cinematography, and direction of the film are handled by Ratish Sekhar, and by the end of it, you should feel that he shouldn’t have burdened himself with all those responsibilities. The camera movements are so poor that even the short films made in Kerala with minimal budget have better visual sensibility. Shot division and camera angles are so bizarre. The visuals change from a medium close-up to a low-angle one in split seconds without any motivation, and the editing done by Prejish Prakash with far too many unnecessary cuts would make you think that he was getting paid for the number of cuts. There is a fight sequence towards the end inside a boxing academy, and the conversations that happen after the goons realize they have kidnapped the wrong person is unintentionally comical.

Pick up a camera. Shoot something. No matter how small, no matter how cheesy, no matter whether your friends and your sister star in it. Put your name on it as director. Now you’re a director. This is a quote by the great James Cameron. What he forgot to mention was that show it to your friends and family and don’t release it in theaters.

A battle of the celebrity spouses unfolded at the box office this weekend as Sony Pictures’ “It Ends With Us,” starring Blake Lively, proved a formidable opponent to Walt Disney Co.’s “Deadpool & Wolverine,” starring husband Ryan Reynolds.

“It Ends With Us” surged way past early expectations, debuting with $50 million in ticket sales in the U.S. and Canada following an impressive pre-sale haul, according to Sunday estimates from Sony. The film had been projected to launch between $25 million and $35 million.

“Deadpool & Wolverine,” which last month scored the biggest domestic opening ever for an R-rated release, grossed $54.2 million in its third weekend for a domestic total of $494.3 million, according to Disney. Globally, the superhero blockbuster brought in $112 million more over the weekend, pushing it past the $1-billion mark and making it the only other film besides “Inside Out 2” to reach that milestone this year.

Lively and Reynolds, who wed in 2012, are also credited as producers on their respective movies. (As if their rollouts weren’t already entwined enough, Lively makes a cameo in “Deadpool & Wolverine” and Reynolds had a hand in writing a key scene from “It Ends With Us.”)

Based on the bestselling Colleen Hoover novel of the same name, “It Ends with Us” stars Lively as a flower-shop owner who falls in love with an abusive neurosurgeon. The supporting cast includes Brandon Sklenar, Jenny Slate and Justin Baldoni, who also directed the film.

The romance-drama received a middling 59% positive rating on review aggregation site Rotten Tomatoes, and an A-minus from audiences polled by CinemaScore.

“‘It Ends With Us’ continues the tradition of ‘women’s pictures’ that were an essential part of Hollywood film production in the 1940s — Bette Davis could have starred in a version of this some 80 years ago,” wrote film critic Katie Walsh for Tribune News Service.

“But women’s pictures also have to express a stark reality that unfortunately gets muddled here, in a bungled adaptation that is at once too close and too far from its source.”

In the No. 3 box office spot, director Lee Isaac Chung’s “Twisters” closed its fourth weekend with $15 million, according to measurement firm Comscore. Powered partly by its epic action sequence, the Universal film has raised its domestic total to $222.3 million.

Eli Roth’s “Borderlands,” subject of some critical lashing, opened to a disappointing $8.8 million for Lionsgate. It barely edged out “Despicable Me 4,” which finished fifth with $8 million in its sixth weekend. Universal’s animated hit has reached $330.1 million in total domestic ticket sales.

The only other debut in the top 10 was Neon’s “Cuckoo,” which finished the weekend in ninth with $3 million.

Opening next weekend are Disney’s “Alien: Romulus,” Falling Forward Films’ “Ryan’s World the Movie: Titan Universe Adventure,” Roadside Attractions’ “My Penguin Friend” and IFC Films’ “Skincare.”