Film Review – Roommates (2026)

      **Roommates, 2026.**

      Directed by Chandler Levack.

      Starring Sadie Sandler, Chloe East, Storm Reid, Aidan Langford, Natasha Lyonne, Nick Kroll, Megan Thee Stallion, Steve Buscemi, Ivy Wolk, Martin Herlihy, Janeane Garofalo, and Sarah Sherman.

      **SYNOPSIS:**

      When eager and somewhat naive college freshman Devon approaches the confident and popular Celeste about being her roommate, their budding friendship devolves into a battle of passive aggression.

      Chandler Levack debuted with *I Like Movies*, which captured the early-2000s through the eyes of a socially awkward film enthusiast, framed in a 1.33:1 aspect ratio that mimics a VHS tape. His second film, *Mile End Kicks*, expands to a 2.39:1 ratio, reflecting the myth-making around its protagonist, a music critic within the 2010s indie scene. In *Roommates,* a new Netflix original, Levack opts for a middle ground with a 1.66:1 aspect ratio, clearly indicating that the film centers on friendship and aims to be likable, steering clear of any daring or innovative choices.

      Sadie Sandler portrays Devon, an anxious "everygirl" without true friends who seeks to reinvent herself before starting college. Although socially aware enough to attend a high school party, she is not popular enough to secure an invitation to the after party. Sandler channels a simmering anger similar to her father Adam's, which effectively builds tension. However, Levack and his team wisely have her play the role earnestly rather than comically. Chloe East, captivating in Steven Spielberg’s *The Fabelmans,* takes on the more flamboyant role of Celeste, Devon’s roommate. Celeste is an edgy and magnetic character whose potential for darker paths is hinted at but ultimately left unexplored. The two meet at orientation and quickly become friends, but their relationship deteriorates as Devon is manipulated by Celeste. Celeste seems like a more unpredictable character that has been toned down to suit the film’s intended lighthearted tone, a choice that reflects the film's overall nature.

      All the characters are attractive, even the quirky ones conform to conventional standards of beauty and style. Unlike Levack’s earlier works, which thrived on unique, offbeat performers who could disrupt scenes, *Roommates* lacks a character like Isaiah Lehtinen to captivate the audience. The film mostly revolves around its two leads, whose chemistry carries the viewer through the familiar and mundane experiences of girlhood we've seen in other films.

      Levack demonstrates a keen eye for social interactions. The film reflects timely elements like Devon hesitating to use her parents' emergency credit card for a Florida Spring Break trip, or observing her brother being publicly outed during a video call. Moments such as Devon entering her empty dorm, timed perfectly with Celeste's arrival, are crafted with excellent tension and release. Additionally, when Devon performs karaoke to “Driver’s License” and “Mr. Brightside,” she asserts herself. These moments may be timeless, but Levack ensures they resonate well, bridging emotional gaps left by the script. In these scenes, Levack reveals a distinct sense of rhythm and audience engagement that his prior films did not explore, hinting at a more deliberately crafted movie if not for its Happy Madison production ties.

      The production and costume design, featuring denim, white tops, string lights, Polaroids, and black light parties, are executed flawlessly. The film captures university clichés so effectively that characters can easily reference them. Each character's attire is consistently meaningful. Like Levack's previous movies, this film encapsulates a certain era's aesthetic; however, it lacks a culturally unique context since it is set in the last decade. A dynamic camera movement from inside to outside the dorm, as Devon catches Celeste in bed, showcases a rare stylistic choice for this genre, reminiscent of the well-lit party scenes in *Mile End Kicks.* Yet, similar to that film, this is largely the extent of visual creativity present.

      Supporting elements could have created stronger connections within the narrative. The casual drug use of the parents, set against Devon’s restraint, suggests a generational shift influenced by cultural visibility and heightened self-awareness. The supportive yet cool parents, portrayed by Nick Kroll and Natasha Lyonne, propel the story by inviting Celeste for Thanksgiving, introducing a jealousy subplot that could have added more tension if explored further.

      While the ending effectively captures the film's tone and wraps up the storyline neatly, it feels somewhat added on, failing to recontextualize earlier events. It reinforces the film's existing qualities: competent, controlled, and limited.

      **Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★**

      Will Hume