“Joy” brings the story of three pioneers—a young nurse, a visionary scientist, and an innovative surgeon—battling against formidable opposition from the church, state, media, and the medical establishment to bring the world its first “test tube baby,” Louise Joy Brown. Directed by Ben Taylor, known for his work on the hit series “Sex Education,” there was certainly anticipation around how he would transition from the small to the big screen. With a cast that includes veteran Bill Nighy and rising star Thomasin McKenzie, expectations were high for a charming and uplifting film. However, despite its promising premise and strong performances, “Joy” struggles to stand out as anything more than passable.

The standout aspect of the film is its cast. Bill Nighy, Thomasin McKenzie, and James Norton all deliver solid performances, infusing their characters with warmth and energy. It’s evident from their on-screen chemistry and the camaraderie they displayed during the pre-screening Q&A that they enjoyed their time working on the project. Their enthusiasm translates well in certain scenes, creating moments of genuine charm. Unfortunately, these fleeting instances aren’t enough to mask the film’s fundamental issues.

The biggest flaw lies in the screenplay. The script is formulaic, designed to hit emotional beats at precise moments but often feels forced and uninspired. The lack of depth in character development is particularly disappointing, as a film meant to honor the people behind such a groundbreaking achievement should give audiences the sense that they’re watching real, complex individuals. Instead, everything feels too neatly packaged, leaving little room for genuine emotional engagement. The film attempts to add substance to its characters but does so in such a surface-level way that it feels contrived, detracting from the authenticity of the story.

The film’s visual style further detracts from its effectiveness. Though the story takes place in rundown, gritty hospital settings where these groundbreaking trials occur, the film’s lighting and color palette are consistently bright and vibrant. This choice feels out of place, as if the filmmakers simply picked a look and stuck with it, regardless of the context. The result is a polished but sterile aesthetic that fails to match the rawness and intensity of the subject matter.

To be fair, “Joy” isn’t a difficult watch; it moves at a decent pace, and its breeziness ensures that it doesn’t drag, even if it doesn’t captivate either. However, its lack of emotional weight or depth makes it feel forgettable. It’s a film you could put on for light entertainment, but one that doesn’t leave a lasting impression.

**Rating: 4/10**

For those looking for a feel-good, easy watch, “Joy” might serve as a pleasant enough diversion. But for viewers expecting a deeper, more genuine exploration of a historic achievement, it falls disappointingly short.