Shadows on the Wall | Tomorrow Morning

Tomorrow Morning

dir Nick Winston
scr Laurence Mark Wythe
prd John Danbury
with Samantha Barks, Ramin Karimloo, Fleur East, George Maguire, Oliver Clayton, Harriet Thorpe, Joan Collins, Omid Djalili, Anita Dobson, Henry Goodman, Sophie Pourrett, Adwoa Akoto
release UK 9.Sep.22
22/UK 1h46

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Set in London, this musical follows parallel stories about a couple as they face two momentous events. The material is strong, with some thumping songs by screenwriter Laurence Mark Wythe that draw out highly charged attitudes and feelings. But ambitious stage-turned-film director Nick Winston falters with the tone, which feels uneven and sometimes cheesy due to some awkward overacting, restless camerawork and flat TV-style lighting of featureless sets.

Around 30, ambitious artist Cat (Barks) is excited about her marriage tomorrow to aspiring novelist Will (Karimloo), although discovering that she's pregnant gives her some doubts. Ten years later, 40ish Bill is a marketing exec preparing for a divorce hearing in the morning with now-successful painter Catherine, including custody details for 10-year-old Zak (Clayton). When they meet, Catherine can't help but rake up the coals of their problems, and Bill gets defensive. Meanwhile, Catherine's mother and grandmother (Thorpe and Collins) and Bill's dad (Djalili) are already pushing them to get back on the dating scene.

Clarity is maintained in cutting between the two time periods, even if some of the edits are rather abrupt and even distracting. The script plays up the changes between these people over time, including one fantastical moment in which the older Bill and younger Will meet without recognising each other. The structure diffuses the tension but allows for some intriguing possibilities. But it's the undercooked production values that leave the movie feeling oddly flat.

Barks and Karimloo have strong chemistry, finding subtle textures and nicely underplaying scenes to reveal internal thoughts even in bouncier moments. So it's frustrating that the film's direction never adds needed perspective on them, offering very little chance to express their personalities. As their best pals, East and Maguire are also strong, bringing comical energy that rings true. And the cameos from Collins and Djalili add some terrific blasts of witty energy, as does Thorpe in a slightly more extended role as Kat's sparky mum.

There are several strong themes in this story, mainly exploring the way the changing fortunes of success can create a storm of problems in a relationship. The warmly expressive songs are designed to reveal how even people who are at odds with each other are feeling similar things, which refreshingly makes sure that, even when characters clash, no one is the villain. Yet the protagonists aren't well enough developed to offer much insight, even if we have no trouble identifying with the events and emotions, and the idea that a new day can offer a new start.

themes, language 30.Aug.22

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