One has to keep in mind that Leah McKendrick’s film is a romantic comedy, meaning, according to even the most refined and reinvented versions of the genre’s formula, a sticking point born from preventable mistakes or an unwashed Big Lie likely exists. In the case of Voicemails from Isabelle, the finagling of fate belongs to Wes. Like many rom-coms, a horses-holding “Let me explain” is needed.
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