Krystal Movie Ending Explained (In Detail)

Spoilers Alert:

William H. Macy begins his new film KRYSTAL as a story about a terminally ill boy, but as it progresses the themes and ideas raised become more and more absurd until it just becomes ridiculous. We reveal more about this in our review.

The Plot Summary

Taylor Ogburn (Nick Robinson) is afraid that his heart disease will be his undoing if he lives life to the fullest like others his age. His parents (William H. Macy and Felicity Huffman) are overprotective and discourage him from going to the movies, playing sports, and falling in love. Anything that is fun, but of course also stressful, should be avoided as much as possible. He is a spectator of his own life. But when Taylor sees Krystal (Rosario Dawson) for the first time, it’s love at first sight and he decides this woman is worth sacrificing his life for. The fact that Krystal is twenty years older, a former escort girl and still an addict in rehab doesn’t stop Taylor from making this decision, nor does the fact that Krystal has a son (Jacob Latimore) his age.

Movie explanation of the ending

Ever since the surprise success “Fate is a lousy traitor,” countless films about teenagers shaken by life have been released every year. William H. Macy’s romantic tragicomedy “Krystal” also seems to be in the same vein. Especially since Nick Robinson plays the leading role, a young actor who is very familiar with this profession thanks to “Love, Simon” and “You Beside Me”. But a terminally ill boy was the focus of a love story with a woman twenty years older than him, who seemed to be the focus of screenwriter Will Aldis (“Black Cadillac”) to have been too little. Because it’s not just the teenager’s love interest Taylor who has problems for three films at once, with a son in a wheelchair, a past as an escort girl, a violent stalker and a drug past. There’s something of an emotional path of devastation running through Taylor’s environment, including a girlfriend with cancer, a free-spirited brother, and literal demons (in cartoon form) chasing him. And as if that wasn’t enough, his parents are of course not free from absurd quirks and pasts, some of which even have to do with Krystal herself. That’s a lot of material all at once, which director Macy can’t manage to juggle at any point. On top of that, he seems to have changed genres several times on a whim during post-production, so that many scenes lack the necessary seriousness, while other moments he would have liked to have allowed a wink.

Taylor (Nick Robinson) and Krystal (Rosario Dawson) are slowly getting closer…

At the beginning of “Krystal” director William H. Macy appears (“Mister Before Sister”) still somewhat focused in its staging. We get to know the quite likeable Taylor as a cheerful but reserved young man who, due to his heart defect, is condemned to avoid any excitement – not an easy task for a pubescent teenager. Macy illustrates Taylor’s inner demons through cartoon characters that originated in an erotic magazine; a nice idea that consistently extends throughout the entire running time of the film and is brought up again and again at appropriate moments. The fact that William has to rethink his restraint tactics when he gets to know the stunning Krystal is ultimately reminiscent of films like “You Beside Me” or “Midnight Sun” – a young person exposes himself to his greatest health risk for the sake of his partner, which for Taylor means feelings to allow. This plays a role, especially when they get to know each other (the sight of the beautiful woman literally almost tears Taylor’s heart apart, so that it leads him straight to the hospital alongside Krystal), but then the makers first introduce the topic of illness Let’s go back to the files and the focus is on how Taylor and Krystal get to know each other. And this is where things get really hairy for the first time. Because even if a pubescent boy can still be forgiven for naturally falling in love with a woman’s appearance at first sight (which cameraman Adam Silver (“Heathers”) underlines with his voyeuristic images), what follows is less amorous Approaches rather than outright stalker tendencies.

The line between “fighting for someone” and “not accepting other people’s boundaries” is very, very thin. Author Will Aldis obviously sees his film as a story about how a young man desperately tries to find a woman and uses any means to achieve this. This quickly takes on completely outrageous features when Taylor, at the age of 18, acquires a leather jacket self who speaks in a fake, smoky voice, and whose fake-looking wisdom he even uses to get around Krystal in the end. But before “Krystal” loses any credibility at this point, Taylor’s way of repeatedly ambushing his beloved, constantly texting her despite being rejected and later even getting into her car without being asked, causes discomfort. This could perhaps be overcome at times, as the script makes it clear here and there that Krystal, who is vastly superior to Taylor in every respect, doesn’t take her stalker seriously anyway. But on the one hand, the script lets the young man “win” in the end and on the other hand, there are several scenes in the film in which it becomes clear that something quite dramatic is happening here, which William H. Macy prefers to use to create something funny out of it completely inappropriately. A dramatic chase with Krystal’s armed (!) ex-husband turns into pure slapstick with music similar to the “Benny Hill Theme”, which allows the action on the screen to drift into pure ridiculousness.

The relationship between Krystal’s son Bobby (Jacob Latimore) and Taylor, like so much else in “Krystal”, is only touched on.

But “Krystal” doesn’t just tell about this strange love, which also seems so absurd because it’s Rosario Dawson (“Trance – Dangerous Memory”) and Nick Robinson doesn’t buy their affection for each other in a second. There are also many other topics at stake, some of which William H. Macy only touches on in a few scenes, without any of them having a more detailed meaning. The fact that one of Taylor’s friends is suffering from cancer is only worth a single mention to the makers, as is one from William Fichtner (“Operation: 12 Strong”) a mock doctor is introduced as a bungler who smokes at work and has no interest in his patients; Except that this would not result in any good gags or any other added value to the story. The same goes for Taylor’s family, where things always crash out of nowhere. And the strange relationship between Krystal and her violent ex-boyfriend would actually be a very dramatic detail in this confusing constellation of characters, especially since they at least bring a little substance to the superficial characterizations at times; At some point Krystal finds herself forced to choose between her ex and her son. But those responsible don’t think through any of the many subplots mentioned. In the end, they deliver a confusing hodgepodge of ideas, not a single one of which you can take seriously and which even makes you wonder from time to time how much of it is just ill-considered and how much is already questionable.

Conclusion: To describe William H. Macy’s tragicomedy “Krystal” as half-baked would be an understatement. Over the course of the 100 minutes of the film, the director changes tone and topic so often that in the end you don’t know what the film is supposed to tell. And most of what he says is outrageous.

“Krystal” can be seen in selected USA cinemas from October 18th.

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