Nathan Bryon, Tom Melia
‘Rye Lane (2023)’ feels fresh because of its unique energy and flavour, offering a distinct spin on its well-worn genre by way of directorial flourish and writing prowess. It’s this that allows the piece to rise above its familiar plotting and uncomfortably conventional finale. The believably sweet central relationship is strong enough to carry the narrative, primarily due to the witty screenplay and sturdy performances, but it’s the extra bits of seasoning sprinkled throughout that really mark it as something special. There’s a larger world at play here, one built on background detail and vignette-like side stories, and this grounds the core story in a satisfyingly quirky way. The bright cinematography renders the urban setting with genuine love and the visualised stories with Giallo-like vibrancy. The bouncy editing elevates the quick-witted, ever-so-slightly absurdist humour and is a joy to watch throughout. That’s true of the entire affair, really: it’s a joy to watch. It’s always fun, often funny and rarely misses a bit. It’s a sweet romantic comedy that does everything it needs to and more.