There’s something quite fascinating about stories that follow youthful lovers reuniting after years apart, and that’s exactly what Chris Pine’s latest film Carousel sets out to explore. Admittedly, I went in with high hopes. It has been a while since Pine last graced the big screen, after all. Yet while there’s a fair amount to admire here, the film ends up feeling overly familiar, ticking off well-worn tropes while becoming increasingly incohesive, resulting in a disappointing experience.

Carousel follows Noah (Chris Pine), a local doctor in Cleveland dealing with a recent divorce and mounting debts at his struggling practice, all while trying to provide a good life for his daughter Maya (Abby Ryder Fortson). As if he doesn’t already have enough to contend with, his high school sweetheart Rebecca (Jenny Slate) returns to the city after leaving behind her career in Washington DC’s political sphere.

Things grow more complicated when Maya becomes involved in her school’s debate team, which Rebecca happens to coach. This naturally draws Noah and Rebecca closer together, and before long they decide to pick up their romance where it left off all those years ago. Of course, not everything runs smoothly, a statement that applies just as much to the relationship as it does to Carousel’s execution from this point onward.

Its simplistic storyline quickly becomes frustratingly apparent as the film leans heavily into familiar rom-com territory, only this time, almost completely devoid of the laughs. Instead, Carousel ops for extended stretches of dialogue that push it further into melodrama. It soon becomes glaringly obvious that every formulaic beat we’ve seen before will be hit along the way, from a meet-cute at a farmers’ market to the brief and predictable break-up, all of it feels painfully familiar and makes the relatively short runtime feel a little bit of a drag.

Even more irritating is the way certain plot threads are introduced in fleeting scenes, only to be abandoned altogether. At times it feels as though the film is jumping forwards without warning. One example is a glimpse of Maya getting into trouble with her debate team, presented without any context as to how or why it has happened. These moments add up throughout the runtime, leaving the story feeling rather disjointed and unsure of what it even wants its audience to feel, in the end draining it of any real meaning.

Despite its glaring issues, there is still plenty to admire, particularly on a technical level. The score and soundtrack are pleasant and complement the artsy tone of the film’s visually striking and aesthetically pleasing imagery, lending a sense of charm that is sorely needed. Performances are strong across the board, with Pine delivering several standout moments. However, it’s Abby Ryder Fortson who truly steals the film’s most memorable scene, delivering an empowering speech on gun regulation and freedom in the United States that feels especially relevant today.

Ultimately, Carousel is a forgettable and unconvincing romantic drama, with laughs few and far between. Its uneven tone and messy structure make it difficult to invest in the central love story, or even to care about where the characters end up. Style over substance feels like the most fitting description for the unfortunately disappointing Carousel.