Rosaline (2022)

Rosaline is special because it takes a story you think you know by heart and flips the camera to the person left offstage, turning Shakespeare’s grand romance into a witty, modern-feeling comedy of bruised pride, bad decisions, and unexpected self-discovery. Kaitlyn Dever makes Rosaline sharp, funny, and disarmingly human—someone you may not always agree with, but you’ll understand every step of the way—while the film’s breezy pace keeps the mischief light and the charm constant. The vibe is playful and crowd-pleasing, full of clever little twists and rom-com energy without needing you to be a Shakespeare expert. If you want a faithful, swoony Romeo-and-Juliet retelling, this isn’t that; but if you’re in the mood for an inventive, feel-good riff that lets the sidelined character finally steal the show, it’s an easy yes.

Rosaline is clearly trying to be a cheeky, modern, female-led remix of Romeo and Juliet, flipping the story to the “wronged ex” and letting her drive the chaos. When it works, Kaitlyn Dever’s dry, irritated charm and the lighter, PG-13 tone make it an easy, low-stakes watch, with a few genuinely cute moments. The problem is the movie’s premise is sharper than the execution: the humor can feel a bit try-hard, the anachronistic winks don’t always land, and it leans hard on familiar rom-com beats instead of really committing to a clever Shakespeare spin. If you want big laughs or a truly fresh take, this may feel bland and padded, but if you’re in the mood for a breezy, mildly snarky comfort comedy with a happy ending, it’s serviceable.