As excessively outspoken Max Barbakow’s directorial debut is when it comes to its philosophical preach on loneliness, the dilemma of life, and the practicality in romance, Palm Springs is still a comedically efficient riff on the classic Groundhog Day premise. While the rom-com’s chief story at hand is imprudently predictable—all-including the particularly rushed lovers’ tale that’s disclosed in an often perky attitude—the fascinating commentary on joining a life of no consequences yet leaving the subliminal proponents of your previously material exhibition one-note do play a fair game in redeeming the movie’s defects. SNL sensations, The Lonely Island, on top of that, deliver their anticipated snappy humor to suitable heights.
The tiny film’s outturn is like the equivalent to vulgarizing a problematic pro-textbook on “the meaning of life” for casual viewers or those uninvested on the frustrating subject matter. It sparks a luxurious understanding of the medium’s basics without having to get too frisky with its complexions. Whether that satisfies you or not, it’s really up to the snobbiness or cluelessness of the beholder.
Personally, I found both to be the case. Count me edging on the “satisfied” bunch, however.
Verdict: B-
“Palm Springs” will be released in theaters this year.
Burning the Celluloid 
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