Not being a great aficionado of Twitter, I did not know what the title meant when I saw it, but it is apparently when someone communicates something with good intentions, but the receiver of the information takes it the wrong way resulting in unfortunate circumstances for them. Or, to put it another way – modern communication. In terms of the film this is what happens when Marie's fiancé decides she needs some space and heads off to a yoga retreat for the weekend. Unfortunately part of the message gets lost, and Marie is convinced she has been dumped without so much as a goodbye. When friend Jesse comes round, Marie is frenzied and reading a lot into previously innocent online messages and posts – a narrative that Jesse is fine for her to continue.
If you ignore that the starting point of this story is a misplaced Post-It note, there is actually a pretty decent idea here about the overload of information, and the off-the-cuff brevity of it. With on-screen displays of text messages, and a heavy focus on technology, we see an issue get blown out of proportion by virtue of Marie reading far too much into the absence of the full information. In this way the film is pretty relevant and also reasonably well done, as we see Marie spinning out of control – reacting to things that haven't happened, having half arguments in the absence of her partner. This aspect is well done, partly because the on screen delivery and pace of it is good, but mainly because the film gets a convincing performance from Mirza. She does convince as someone driving herself crazy with things that probably aren't what she is reading them to be – and when she is doing that, the film works well.
What works less well is that the narrative tends towards the OTT; it starts in a small way but quickly becomes excessive in tone and style. There are many examples of this, but the clearest one is the performance from Caster; her character and her performance are over the top – I guess this is partly the point since it is why the partner dislikes this relationship, but she is far too clichéd and forced as a presence in the film. As a whole it still worked pretty well, and has the energy to keep things moving while Mirza provides a believable base – but Caster and her character are examples of the film not reeling it in, and pushing everything at top speed, hurting the detail in the process.
