Netflix rom-coms don’t have a good track record, so I was a bit skeptical about this one. However, after a few friends said it was pretty good, my curiosity got the better of me. The blind-connection premise immediately reminds me of Nora Ephron’s You’ve Got Mail, one of my favorite rom-coms ever. So I appreciate the fact that this movie acknowledges it and humorously pokes fun at that.

Jill (Zoey Deutch) leaves voice messages for her late sister Isabelle (Ciara Bravo), sharing all the craziness of her life in San Francisco. What she doesn’t know is that the number has been switched over to Wes (Nick Robinson), a real estate agent in Austin, who ends up listening to her raw and personal messages. At first, I thought Voicemails for Isabelle was adapted from a book, but it turns out it’s an original story by Leah McKendrick, who directed the movie and also has a supporting role here.

You’ve Got Mail’s premise was somewhat plausible back in the early dial-up internet days, when tracking down other people’s digital footprints wasn’t so easy. That’s not the case with the voicemail scenario here. Nowadays, phone companies generally require a disconnected number to remain inactive for at least 3-6 months before they can reassign it, and the previous voicemail box usually gets wiped clean when the new user activates it. But hey, most rom-coms ask us to suspend our disbelief, so we have to roll with it and accept that this scenario could happen.

The story is quite predictable and formulaic, but that seems par for the course for this genre. What really hits home is the sorrow of losing a sibling. Jill and Isabelle (Izzy) were like two peas in a pod growing up, played adorably by kid actors Alice Comer and Iris Everly. Even though Izzy had cystic fibrosis, Jill never leaves her sister behind to live her own life. In fact, as a coping mechanism, Jill lives life to the max, almost as if she’s living for both of them. She keeps Izzy updated on everything happening in her life, letting her live vicariously through Jill. 

Deutch brings a lively energy and vulnerability to the role. I’m glad her character is way more engaging than the last film I saw her in, which was undoubtedly the worst I’ve seen in ages. She convincingly shows Jill’s deep loss here… Izzy isn’t just a sister; she’s her best friend and emotional anchor. Losing Izzy is even tougher since Jill is away from her Texas roots and juggling a challenging job with a hellish boss. 

I’d say it’s pretty easy to make Jill a character you can feel for. She’s a hard worker and, despite her good looks, she’s unlucky in love. Hooking up with her narcissistic coworker Arthur (a cartoonish Lukas Gage) turns out to be a huge mistake; then she meets a famous dating podcaster, Tyler (Toby Sandeman), who ends up being even worse. On top of that, she’s stuck with an abusive boss (an over-the-top Nick Offerman with a hilariously bad French accent). So when Wes shows up trying to win her over, we’re all cheering for her to finally discover ‘the one.’

Now, Wes is a tricky character, as he seems charming on the surface, but what he does is downright creepy. I mean, using your dead sister’s private phone data to track you down across state lines? That’s basically stalking. But somehow, McKendrick makes Wes come off as sympathetic, and a lot of that is due to Robinson’s casting. His performance has this genuine sincerity and gentleness that feels anything but slimy. Wes doesn’t come across like a player, and most importantly, he doesn’t take Jill’s voicemails lightly for a cheap laugh; instead, he seems genuinely moved by her grief, which he can relate to since he lost his mom when he was young.

There’s a pretty nice chemistry between the two actors that goes beyond sexual attraction. In today’s dating scene, it’s refreshing to see a soulful bond over a physical one, and this movie somehow sells that idea.

Of course, all the classic rom-com clichés are still here. You’ve got the quirky ‘best friend’ trope, and in this case, it’s a couple, Breeda (Leah McKendrick) and Andy (Harry Shum Jr.), who are Wes’ best pals. Jill’s best friend is still Isabelle, hence the voicemail antics. Plus, it’s set in the stunning San Francisco, showcasing postcard-perfect views of the Golden City, even though most of it was filmed in Vancouver.

What really bugs me about modern rom-coms is the needle-drop choices; most of the songs are pretty terrible, except for the legendary Tony Bennett’s I Left My Heart in San Francisco and Robyn’s Dancing on My Own, which feels like today’s version of Gloria Gaynor’s I Will Survive—an uplifting anthem for heartbreak and resilience.

Overall, I enjoyed this movie despite the flaws. I’d rank it among the better rom-coms available for streaming right now, although it can’t hold a candle to the classic romantic comedies by Nora Ephron or Nancy Meyers, which are so witty and timeless. Still, I appreciate that the sisterly love shines just as brightly as the romance.

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