A Big Bold Beautiful Journey
I went into A Big Bold Beautiful Journey (2025), recently made available on Netflix, with absolutely no sense of the storyline. Sometimes that’s the best way to encounter a film. With no expectations to manage and no trailer logic to undo, you’re free to simply watch and see what happens. What I found was a fantasy-based romantic comedy that takes itself rather seriously at times, moves at its own pace, and ends up having more to say than I expected. I recommend it.
The film opens at a generically named “Car Rental Agency,” where David (Colin Farrell) encounters two unusually quirky employees, Kevin Kline as the Mechanic and Phoebe Waller-Bridge as the Cashier. David is on his way to a friend’s wedding. The car he rents, a 1994 Saturn SL, comes equipped with a GPS unit that quickly establishes itself as a character in the story.
At the wedding, David locks eyes with Sarah (Margot Robbie), and the two engage in flirtatious, slightly offbeat banter at the reception. At one point, Sarah semi-seriously asks David to marry her, a moment that clearly unsettles him. What is he to make of this unconventional woman? When Sarah then asks him to dance, he declines. Later, she leaves with another man.
Driving home, the GPS asks David if he’d like to go on a big, bold, beautiful journey. He agrees, and with that, the film’s fantasy premise is underway. David is soon instructed to take the next exit and order a fast-food cheeseburger. Inside the restaurant, he discovers Sarah, also eating a cheeseburger. When they leave, Sarah’s car, another Saturn from the same rental company, refuses to start, and David’s GPS instructs him to offer her a ride. She accepts, and the two begin sharing the rest of the drive home.
From there, the film settles into its central rhythm. The GPS directs David and Sarah to a series of roadside stops that turn out to be doors, both literal and metaphorical. Behind each door lies not so much a place as a moment in time. These episodes are drawn from the characters’ pasts, and what’s striking is how matter-of-factly they accept what’s happening. There is only a modicum of astonishment. David and Sarah step into these moments as if the past were still physically present, waiting to be revisited.
One door, for example, takes them to David’s high school on the night he is starring in the class musical, How to Succeed in Business Without Really Trying. He plays the lead role of J. Pierrepont Finch, with Sarah and his parents watching from the audience. During the show, David relives a painful romantic rejection, confessing his feelings to a costar offstage and then, in an impulsive moment, temporarily derailing the production by confronting her onstage with blunt observations about the life she will go on to lead.
In a later scene, they stop at a decaying roadside billboard with an opening that leads into a café. Inside, two conversations unfold at once. David’s former fiancée presses him for an explanation about the end of their engagement, while Sarah revisits the collapse of a relationship with a former boyfriend. Eventually, the two conversations merge, with all four characters seated at the same table. David and Sarah are given an unusually revealing view of how each has behaved in earlier relationships, and both are forced to acknowledge their own intimacy issues.
By this point, it’s very clear that this big, bold, beautiful journey is less about time travel than about self-examination. As David and Sarah move through these episodes together, the focus remains on how they respond to what they learn about one another. They watch. They ask important questions. They engage in remarkable amounts of self-disclosure. The film allows these moments to unfold slowly. The pace worked for me, though I can see why others might find it trying. This is not a movie in a hurry.
What the film seems most interested in is not whether David and Sarah will end up together, but what it means for two people to really see one another. By the time you’ve lived a while, introductions are never clean. Everyone arrives with baggage, earlier versions of themselves still visible around the edges. A Big Bold Beautiful Journey makes that idea concrete, and in doing so, captures something emotionally recognizable.
I was willing to go along with the unlikely premise and the deliberate pacing largely because the performances are so grounded. The connection between Farrell and Robbie builds through pauses, glances, shared silences and, often, moments of unusually deep honesty. That connection feels earned, not manufactured.
What stayed with me afterward was not a particular scene or line of dialogue, but the film’s underlying suggestion that not every meaningful encounter has to resolve into something permanent. Some meetings matter because they clarify where you are, or because they briefly align two lives that have been moving along separate tracks. That idea resonated with me more than any conventional romantic payoff might have.
Not everyone will be taken with this film. It asks for patience and a tolerance for ambiguity. It treats human connection as something provisional and fragile, shaped by timing and circumstance, and often understood only in retrospect.
By the end, A Big Bold Beautiful Journey felt less like a romance than a meditation on how lives intersect, diverge, and occasionally overlap just long enough to matter. For me, that made the journey worth taking.
What Is It All About?
I am now in my 77th year and quite frequently, in this mostly-retired life I’m living, I wonder how to make the most meaning of my remaining days. I say “mostly retired” because back in 2019, after five years with no earned income, I decided to seek part-time work that would supplement my various and sundry (i.e., relatively-modest) retirement-income streams. So, in the last five years, and because I have a wide range of skills, I have worked three successive, different jobs on our local community college campus. It has been a valuable experience, so far, and keeps both my mind and body active.
Retirement, though, is nothing like I imagined – that is, if I thought about it much at all. I never really did have a coherent “retirement strategy,” as we are encouraged to do. Rather, my approach seemed to be: to work as long as I can and then see where I was in “old age.” You would be right in concluding that this is not really the most prudent game plan. And, as it turned out, I spent a considerable portion of my life pursuing multiple academic degrees, which significantly cut into my ability to put away any kind of really-comfortable, old-age nest egg. (Student loans played a big part in that, I have to admit; I was paying them off until age 66. It seems I missed the whole “forgiveness” scenario by about three decades.)
The bottom line here is: I have found this time of life to be quite problematic. Despite the fact that I am working part time, getting up in the morning and finding purpose has been a real issue. Questions such as: what am I doing with my life? and what have I done with my life” keep seeping into my consciousness. I keep wondering about the value I have added to the universe during my younger years, and I am especially questioning the value of my life now. As always, I am asking: what’s it all about?
Most people would say: love. But it seems that has mostly passed me by this time around.
Soundtrack Suggestion
What’s it all about Alfie
Is it just for the moment we live
I believe in love, Alfie
Without true love we just exist, Alfie
Until you find the love you’ve missed
You’re nothing, Alfie
(“Alfie” – Burt Bacharach)
A Swift Conversion
It would seem I’m in love again. Well, sorta, anyway. No, I don’t have another significant-other in my life. I don’t know if that will ever happen again. As it turns out, I have recently become rather taken with a young female pop star.
Nope, it’s not Billie Eilish. And I said pop star, so no, it’s not Caitlin Clark either. But both of those would be rather good guesses, as I have, of late, become fans of both.
Perhaps you’ve heard of my new interest: Taylor Swift. Ring a bell? Anybody? Well, I suspect you have, so here’s a little bit of the story.
It wasn’t more that maybe four or five months ago that I mentioned to a friend that this Taylor Swift person sure is in the news a lot these days. I had become more and more aware of her with the furor over The Eras Tour. And of course, this was during the NFL season, so Ms. Swift’s involvement with Kansas City Chiefs’ Travis Kelce was generating quite the buzz. Still, I confessed, despite the apparent fame and fortune of this very popular musician, I could not name even one song of hers. Well, my friend is a grandmother of two pre-adolescent girls so is slightly more contemporary-pop-culture aware than I am in this regard; she indicated that she knew one song: “Shake it Off.” So, for the first time, I watched the music video of that song, and said, “yeah, I guess that’s rather cute.” (It was very well produced, I do admit.)
And then, I went on about my life.
Subsequently, of course, there was all the news about Kansas City getting into the Super Bowl and would Taylor Swift be able to make it to the game, given that she was performing a concert in Japan the night before? Such controversy: holy crap! Well, of course, you probably know that not only did she make it to the game (the perks of having a private jet!), but the Chiefs beat the 49ers in overtime – and the game was watched by an increasingly large female TV audience hoping to catch a glimpse of Taylor in her private stadium suite.
Still, I was amused, but rather unmoved.
But then, things took a turn. At some point a few days ago, someone (sorry, I don’t recall who) on Facebook posted a link to a NPR Tiny Desk Concert. And I watched. This session was recorded over four years ago, in October 2019: showcasing a slightly-younger Taylor (can I now call you by your first name?), without the frills of a music video or the glitter while playing to an arena of tens-of-thousands. She played four tunes as, she said, “how the songs sounded when I first wrote them” (i.e, acoustic versions, two on guitar, two on piano). I had never heard these tunes before, of course, though it now seems obvious, given some further research, that most of the rest of the civilized world has. In the comments section, a 70-year-old guy from Oregon (not me) wrote, “I now see the appeal, the truly evident talent and most of all… the genuineness of her personality, and the deservedness of the accolades she has garnered.”
What especially caught my attention was the final song she performed, entitled, “All Too Well.” Right away, it became obvious that this was what could be definitively called a “breakup song.” Arggghhhhh! It totally socked me in the gut. And I immediately agreed with the person in the comments section, as I said to myself, “ah, now I get it.” She is a truly engaging as a person and writes lyrics that speak deeply to the human experience. No wonder she has the immense following she enjoys.
I love you, Taylor. (Call me.)
(And I still cannot name a single Beyoncé song. Sorry ‘bout that.)
Here is today’s Soundtrack Suggestion:
Adieu
Teller was not so much bereft as he was stunned; although, he admitted, this was accompanied by a healthy dose of relief. He was aware that he should be grieving, as would be normal under such circumstances. Perhaps the immense sense of fatigue that he was feeling, down to the core of his being, was a symptom of his sadness.
The relationship that he had been involved in for five years was now officially over. Given that he had invested so much of his life in this one person, it qualified as one of the major liaisons of his life. But now, it was, finally: kaput.
Not that this should be a big surprise. In fact, anyone with a lick of sense would have predicted this outcome for a coupling with such a turbulent and chaotic dynamic. The on-again/off-again nature had been truly maddening.
Teller and Gwendolyn had met online and had their first date on her 65th birthday in 2019. He was 71 at the time and hoping to meet his last love. However, despite their mutual attraction, from very early on differences over fundamental values were evident.
Consequently, there were oh many instances of painful conflict along the way. And it did not end well, with Gwen sending a final, distancing text: “… and please do not contact me again.”
Yes, Teller was stunned. And yet, bound to honor Gwendolyn’s wish.
Adieu: perhaps to his last love.
Soundtrack Suggestion
And I know it’s long gone
and that magic’s not here no more
And I might be okay
but I'm not fine at all
(“All Too Well” - Taylor Swift)
The Only Winning Move
“A strange game. The only winning move is not to play.” [The WOPR computer at the conclusion of “War Games” (1983).]
“War Games” is a 1983 movie starring Matthew Broderick, Ally Sheedy, John Wood and Dabney Coleman. I fell in love with this film the first time I saw it, at the State Theater in downtown Corvallis, during the first week of its release. A friend of mine had dropped by my apartment and said, “let’s go see ‘War Games’.” I hadn’t heard of it, but I said, “sure, ok.” (1983 is a couple of years before I first touched the keyboard and mouse of an Apple Macintosh, but I was, perhaps, influenced by this film, in the direction of my now long-time interest in computers.)
This is the story of a high school student, David Lightman (a stunningly-young Matthew Broderick, pre-Ferris-Bueller), an intelligent, but somewhat-naïve, underachiever with an interest in computers and computer games. He gets caught up in a dramatic, but mostly-unrealistic, scenario whereby he almost causes the end of the world by initiating WW III. The primary setting is Seattle, WA.
I watched this movie again this week (now available on Max) for maybe the tenth or fifteenth time. I think it’s totally fascinating to see the world portrayed as it existed in the Cold War era, before September 11th, and prior to the technology that we all now take for granted. How did we even exist in the pre-internet era of floppy discs and dime-eating pay phones!?
In search of the latest computer game by an outfit called ProtoVision, David searches for all the phone-modem-equipped computers in Sunnyvale, CA, and stumbles upon a Defense-Department machine called the WOPR (“War Operation Plan Response” – it’s pronounced like the Burger King sandwich, “whopper”). He ultimately finds a way into this machine via a back-door password left there by the original designer. The WOPR believes, therefore, that David is “Professor Falken,” its creator. Now posing as the Professor, he finds the game programs on this machine and elects to play, not chess, not poker, but rather something called “Global Thermonuclear War.” David chooses the side of the USSR in the conflict and initiates a nuclear strike on the US.
