‘Mile End Kicks’ Review – This Rom-Com Kicks Us When We’re Down

There is a lovable charm to running headstrong into an impossible situation. The unknown is frightening but also exciting, because the destination’s outcome is always a mystery. Though in some cases, the unknown can be figured out before a first step is taken. This just so happens to be the case with Mile End Kicks, a prepackaged coming-of-age story about a music critic who falls head-over-heels for two members of an indie band she’s publicizing, only to find herself singing more out of tune. 

Over the course of ninety minutes, take an unexpectedly long-winded trip into the world of indie bands. Meet Grace (Barbie Ferreira), who moves to Montreal to write a book about Alanis Morissette. However, instead of spending her time writing, she finds herself romantically linked with two members of an indie band, Archie (Devon Bostick) and Chevy (Stanley Simons). She ends up becoming the band’s publicist. Friendship toils, confusion blossoms, and Grace is ready to learn a lot about herself and love.

As a bonus, the film boasts a grunge influence and aesthetic that, at least visually, is appealing. Set in 2011, the story frames the indie music scene in Montreal, adding a clever dynamic. However, while the film is engaging as a premise, the story falls apart for a myriad of reasons. Number one: the characters lack any personality. Primarily, our lead, Grace, falls into the adorkable category. While not an unbearable trait in certain circumstances, here it does not work. The problem is that there is too much interest in falling back onto stereotypes and constructing a half-baked coming-of-age story. 

Another issue with the film is the injection of too many ideas. On the surface, the story is about Grace. We follow her impulsive decision to move to Montreal, and her eventual love triangle of sorts. The movie wants to be a straightforward rom-com, but then keeps interjecting ideas. Some of which include, but are not limited to: sexism and the patriarchy, sexuality, and workplace romances. All these together are interesting in their own right, and perhaps, if given more time to develop the story, could have made it work. Many of these themes and ideas unfold in monologues that feel crammed in at the last minute. There are short, contrived scenes that slow the pace and give it a TV after-school program vibe.

The problem, ultimately, is that the film merely pays lip service to the above themes while rushing back to turn it into a quasi-character study. It is a baffling film in many respects, but it lacks a firm identity and commitment to any of its themes to elicit interest.

And finally, this ties back into the issues with characters and characterization: there is never a moment when any character arc or development feels earned. Now, normally, I could cut the film slack, especially one that is milking as a rom-com of sorts. However, this is one of those cases where it feels like they want to have their cake and eat it too. 

To its credit, Mile End Kicks tries its hardest to embrace a Cameron Crowe level of storytelling. Insofar as there might be lofty ideas, but grounded in a relatable fashion. I thought of films like Almost Famous and, more specifically, Singles as having influenced this movie. The effort is certainly there; however, it comes off as a Sparknotes version of a Crowe film. And then, when the film does strive to become its own, the effort is convoluted and filled with cardboard-like characters. This all feels like an inferior effort, and any attempt at imitation comes off as that, imitation. 

The story is set in Montreal and makes a recurring joke about speaking and learning French. Ironically, if this film had been in another language, it might have been interesting, simply as a learning exercise, because, as it exists here, the film is out of tune and borderline gibberish.

Mile End Kicks will debut in select theaters on April 17, 2026, courtesy of Sumerian Pictures.