Almost Friends (2017)

Almost Friends is the kind of small, humane dramedy that sneaks up on you: not with big twists, but with the quiet pleasure of watching messy, recognizable people stumble toward honesty. Jake Goldberger keeps the tone gentle and observant, letting awkward pauses and little moments of wit do the heavy lifting, while Freddie Highmore gives Charlie a wounded-sweet sincerity that makes his immaturity feel real rather than grating. The spark between Highmore and Odeya Rush is the movie’s secret weapon—warm, complicated, and just believable enough to make every shared glance feel like a choice with consequences. It won’t satisfy viewers hunting for high-stakes drama or broad comedy, but if you like character-driven stories with sensitivity, charm, and a soft ache under the laughs, this one is easy to fall for.

Almost Friends is aiming for a low-key, bittersweet coming-of-age story about stalled ambition, messy feelings, and the uncomfortable blur between friendship and wanting more. The problem is it often feels oddly inert: scenes drift without much momentum, and the central romance can come off less “complicated” and more “why are we doing this,” especially if you’re sensitive to pushy, boundary-testing behavior played as longing. Freddie Highmore is likable and there are a few grounded family moments (Christopher Meloni helps), but the movie’s tone can feel amorphous—too gentle to be sharp comedy, too timid to land as real drama. If you want a romantic dramedy with spark, clear stakes, or a protagonist you can root for without squirming, this probably isn’t your night.