Dan Fogelman’s Life Itself (2018) aspires to weave a tapestry of human connection across generations, a bold narrative experiment that both captivates and falters under its own weight. The film’s ambitious screenplay, penned by Fogelman himself, attempts to braid multiple storylines spanning New York, Spain, and beyond into a meditation on love, loss, and legacy. Its nonlinear structure, divided into chapters, mirrors the unpredictability of life, but this ambition sometimes sacrifices emotional coherence for dramatic flourish. The script’s reliance on contrived coincidences and heavy-handed narration risks alienating viewers, as it occasionally prioritizes thematic symmetry over organic storytelling. Yet, when the narrative lands, it does so with devastating precision, particularly in its quieter, character-driven moments.

The ensemble cast, led by Oscar Isaac and Olivia Wilde, delivers performances that anchor the film’s sprawling scope. Isaac’s Will is a study in raw vulnerability, his descent into grief rendered with a haunting intensity that lingers. Wilde, as Abby, brings a radiant warmth that contrasts the story’s darker turns, though her character’s underdeveloped arc feels like a missed opportunity. Supporting performances, particularly Antonio Banderas as the enigmatic Mr. Saccione, add depth, with Banderas infusing his role with a subtle melancholy that elevates the Spanish segments. However, some secondary characters, like those in the later chapters, feel more like narrative devices than fully realized individuals, a flaw that undercuts the film’s emotional stakes.

Cinematographer Brett Pawlak’s work is a standout, capturing the vibrancy of New York’s urban pulse and the sun-drenched expanses of rural Spain with equal reverence. The visual contrast between these settings underscores the film’s thematic exploration of cultural and temporal divides, though the overly polished aesthetic occasionally feels at odds with the story’s raw emotional core. Federico Jusid’s score, while evocative, leans too heavily on saccharine strings, risking emotional manipulation where restraint might have served better.

Fogelman’s direction shines in its intimacy but struggles to balance the film’s grand aspirations with its quieter truths. Life Itself wants to be a profound statement on the interconnectedness of human experience, but its reach exceeds its grasp, resulting in a narrative that feels both heartfelt and overstretched. Still, its bold attempt to grapple with life’s messiness makes it a flawed but unforgettable journey, one that invites reflection even as it stumbles.