Name: In Love and Deep Water
Genre: Romance, Comedy, Mystery, Thriller
Released: 2023-11-16T00:00:00+00:00
Cast: Ryo Yoshizawa, Aoi Miyazaki, Yoh Yoshida, Rinko Kikuchi, Kento Nagayama

The opening shot of In Love and Deep Water lingers on Ryo Yoshizawa’s Suguru, his crisp white butler’s uniform a stark contrast against the gleaming decks of the MSC Bellissima. The camera pans slowly across the ship’s luxurious amenities—polished wood paneling, crystal chandeliers, and the endless expanse of the Aegean Sea beyond. It’s a visually sumptuous introduction to Yusuke Taki’s 2023 Netflix rom-com-mystery hybrid, a film that aspires to be a modern-day Murder on the Orient Express meets Love Actually.

The premise is straightforward but promising: Suguru Ubukata (Yoshizawa), a devoted butler aboard the MSC Bellissima, encounters Chizuru Banjaku (Aoi Miyazaki), a mysterious woman who claims they have a shared past. Their chance meeting coincides with a murder on the ship, thrusting the unlikely pair into a whodunit that unfolds among the ship’s eccentric passengers. The film’s strength lies in its production design—every gilded hallway, every sprawling banquet scene exudes opulence, immersing viewers in the world of the elite at sea. The mystery itself is cleverly woven into the narrative, with each passenger harboring secrets that keep the plot engaging.

However, In Love and Deep Water falters when it tries to juggle its multiple genres. The romantic subplot between Suguru and Chizuru feels underdeveloped, reduced to a series of awkward glances and half-hearted confessions that lack the emotional depth needed to resonate. The film’s attempts at humor often fall flat, with jokes landing with the subtlety of an anchor being dropped into the Aegean. Meanwhile, the mystery elements, though intriguing, suffer from pacing issues—key revelations are rushed, and the film’s climax feels unsatisfyingly abrupt.

Aoi Miyazaki delivers a standout performance as Chizuru, her portrayal of a woman caught between vulnerability and cunning adding much-needed nuance to the story. Miyazaki’s ability to convey emotion with a single glance is a highlight, making her character the emotional anchor of the film. Ryo Yoshizawa is equally compelling as Suguru, though his character arc sometimes gets lost in the film’s convoluted plot twists. The supporting cast, including Rinko Kikuchi as Aina Horikawa and Yoh Yoshida as Hatsumi Yabuchi, bring a welcome energy to their roles but are often sidelined by the film’s overstuffed narrative.

The film’s attempt at originality is admirable—mixing romance, comedy, mystery, and thriller into one package—but it ultimately feels like a hodgepodge of genres rather than a cohesive whole. The mystery’s resolution, in particular, is a letdown; the motive behind the killer’s actions is so obscure that it undermines the tension built throughout the film. The romantic subplot also suffers from a lack of chemistry between the leads, making their supposed love story feel forced and unconvincing.

In Love and Deep Water is a visually stunning but narratively uneven experience. It’s a film that promises much but delivers less, leaving viewers with a sense of missed opportunities. The production design is undoubtedly the film’s strongest suit, creating a lavish backdrop for the story to unfold against. However, the film’s inability to balance its multiple genres and develop its characters effectively holds it back from being truly memorable.

The film’s direction by Yusuke Taki is competent but uninspired. While Taki does an admirable job of capturing the opulence of the cruise ship setting, he struggles to create a cohesive narrative that ties all the elements together. The pacing is uneven, with some scenes dragging on while others are rushed, leading to a disjointed viewing experience.

Thematically, In Love and Deep Water touches on themes of love, betrayal, and the search for identity. However, these themes are never fully explored, leaving viewers with a sense of incompleteness. The film’s attempt to blend romance and mystery is ambitious but ultimately falls short, as the two genres clash rather than complement each other.

In terms of its target audience, In Love and Deep Water will likely appeal to fans of romantic dramas and murder mysteries. However, those looking for a more traditional rom-com or a tightly plotted thriller may be disappointed. The film’s blend of genres makes it a hard sell to any one specific audience, which is ultimately its downfall.

The film also suffers from a lack of originality. While the setting and premise are intriguing, the story itself feels derivative, drawing heavily from established tropes in both the romance and mystery genres. This lack of freshness makes it difficult for the film to stand out in a crowded market.

Despite its flaws, In Love and Deep Water does have its moments. The performances by Aoi Miyazaki and Ryo Yoshizawa are strong, and the production design is undoubtedly impressive. However, these positive aspects are not enough to elevate the film above its more significant shortcomings.

Ultimately, In Love and Deep Water is a film that tries to do too much but ends up achieving too little. It’s a visually stunning but narratively uneven experience that will likely leave viewers feeling underwhelmed.