Carolina Caroline — Review
Source: Magnolia Pictures
Adam Carter Rehmeier’s Carolina Caroline plays like the country companion piece to his punk rock Dinner in America (2020). Like that film, Kyle Gallner once again stars as a troublemaker on the run. However, Carolina Caroline feels like a more mature entry in Rehmeier’s filmography, which is fitting, since one key difference is that this isn’t a coming-of-age story or a comedy like his previous two films. This romantic crime thriller is a stylish tale of young lovers on the run that draws easy comparisons to Arthur Penn’s Bonnie and Clyde (1967) and Terrence Malick’s Badlands (1973). While it doesn’t reinvent the genre, the chemistry and commitment of its leads elevate the material, breathing new life into a classic formula. I’m not typically one to resort to superlatives in my reviews, but Carolina Caroline might just be the sexiest movie of the year.
Source: Magnolia Pictures
The film follows Caroline (Samara Weaving), a young woman living in Texas with her father (Jon Gries), who yearns to escape her small-town life and find her estranged mother (Kyra Sedgwick). While working a shift stocking shelves at a local gas station, she crosses paths with Oliver (Kyle Gallner), a drifter who cons a cashier out of money in a scheme reminiscent of Peter Bogdanovich’s Paper Moon (1973). Drawn to Oliver’s charm and unpredictability, Caroline is pulled into his world of petty cons as he teaches her the tricks of his trade. When Oliver shows her how to distract someone in order to steal their watch or jewelry, it echoes the 2015 film Focus—a fun coincidence, since people often say Samara Weaving and Margot Robbie resemble each other. Nonetheless, Carolina Caroline succeeds where Focus faltered, thanks to its sizzling chemistry and quaint, small-town country vibe. The absence of cellphones makes it clear the story isn’t set in the present day, though the film avoids pinning itself to a specific year, lending it a subtle, timeless quality.
Source: Magnolia Pictures
When Oliver recounts a story about a couple of birds perched on a telephone wire and thinking, “These birds can fly anywhere in the world, so why do they always seem to stay in the same place? And then I asked myself that same question.” Caroline pauses, and her eyes widen in a quiet moment of self-recognition. It’s clear she feels confined to her hometown and dreams of escaping, and Oliver’s lifestyle offers an alluring adventure and an opportunity to see more of the world. What starts with small swindles soon escalates into a full-blown crime spree across the Southeastern United States. As the stakes rise, so does the heat of their romance.
Samara Weaving brings real depth to the role through an emotionally layered performance. She starts out with a sense of naïveté and nervousness that gradually gives way to a more confident demeanor as Caroline becomes accustomed to a life of robbery. Kyle Gallner portrays Oliver with a careful balance of charisma and enigma. He exudes a natural charm that puts people at ease, but there’s an underlying mystery that constantly raises the question of whether or not he can truly be trusted. Oliver aptly explains to Caroline, “Everybody lies, especially to themselves. There’s no lie more convincing than the one that we tell ourselves. And if you know how somebody lies to themselves, that’s power. You can predict them in ways that they don’t even understand.”
Source: Magnolia Pictures
Carolina Caroline lives and dies by its central performances. Without Samara Weaving and Kyle Gallner, the film would struggle to stand out, as Tom Dean’s screenplay isn’t particularly original, and the pacing is a bit slow. The chemistry between Weaving and Gallner is utterly electric. Though their relationship develops quickly, it still unfolds with a natural rhythm, making it easy to get swept up in their romance. Even familiar beats—like the early stages of them getting to know each other—feel steamy thanks to the strength of their performances. It’s evident that both actors are operating at the top of their game, with their body language and facial expressions doing much of the heavy lifting to elevate the writing. A sensual glance or a sly lip bite says more than dialogue ever could, perfectly capturing the thrill of a whirlwind romance. Their dynamic provides an emotional undercurrent, balancing the chaos of their crimes with moments of tenderness and intimacy.
Source: Magnolia Pictures
Jean-Philippe Bernier’s cinematography is stunning. Shots are artfully composed and beautifully lit, allowing the vibrant colors to really pop—whether it’s green grass, a yellow shirt, the actors’ blue eyes, or a red dress. Visually, it evokes the feeling of a golden, carefree summer day. Justin Krohn’s editing adds a stylistic flourish to this sleek, sexy crime caper. Crash zooms and clever, fast-paced scene transitions keep the robbery sequences lively. For example, when an elevator door closes, a wipe transition mirrors that movement, followed by a camera pan in the same direction, giving the scene kinetic energy. That same sense of motion is also at play when Caroline asks the bank tellers to fill the bag with money and pass it along to the next teller, or when the duo exits their getaway car and enters another vehicle. As Caroline and Oliver’s relationship blossoms, the editing takes on a montage-like quality, amplifying the adrenaline rush of new love.
Source: Magnolia Pictures
Christopher Bear’s score gives the film a soulful, distinctly Southern personality. Moreover, the entire music department deserves recognition because the country music needle drops perfectly underscore the couple’s escapades. In fact, the song choices are so precise that the lyrics often feel like they’re commenting directly on what’s unfolding on screen. Some might criticize the soundtrack for being too on-the-nose, but I’ve always been a sucker for a good on-the-nose needle drop, and the ones in this film feel meticulously thought out. For instance, on the day they first meet, “The Nail” by Sarah Shook & The Disarmers plays on the jukebox as the lyric “I can’t decide which one of us will be the nail in this here coffin” accompanies the image of the duo sitting together at the bar, subtly foreshadowing the volatile nature of their relationship. They also discuss their mutual love for Steve Earle’s “Someday” when it comes on the radio in the car, which feels especially fitting, with the line “I’m going to get out of here someday” echoing Caroline’s longing to escape her small-town existence.
Perhaps the most notable song in the film is Jason Isbell’s “Cover Me Up,” which plays more than once and packs an emotional punch. The opening line, “A heart on the run keeps a hand on a gun. It can’t trust anyone,” embodies the film’s blend of romance and crime, as well as Oliver’s view that everyone lies. The chorus begins with “So, girl, leave your boots by the bed, we ain't leavin' this room,” a line that carries a dual meaning in the context of the film. In the early stages of their romance, it reflects their passion and desire to stay in bed together. However, as their crimes spiral out of control, it takes on a darker significance, as there’s nowhere left to go if the authorities are searching for them.
Source: Magnolia Pictures
The performances, visuals, and music all work together to ensure that Carolina Caroline soars above the limitations of its screenplay. The story doesn’t break new ground, but the style and sex appeal make Adam Carter Rehmeier’s take on the lovers-on-the-run genre feel fresh. Kyle Gallner and Samara Weaving deliver irresistibly charming and emotionally complex performances that create characters worth caring about. The chemistry between them is unbelievably magnetic and a large part of what makes the film so compelling. It’s worth watching for their sultry dynamic and fiery tension alone. Ultimately, it’s a film that thrives on chemistry and style. Carolina Caroline is a seductive, enthralling crime romance that captures the thrills of young love and the bittersweet rush of life on the run.
Check out Carolina Caroline in theaters on June 5, 2026.
