‘My Fault: London’ Review: A Misguided Adaptation of Mercedes Ron’s ‘Culpa Mía’

The Hollywood movie “My Fault: London” struggles to bring anything new to Mercedes Ron’s book, “Culpa Mía.” The original Spanish adaptation, released on Prime Video in 2023, was a guilty pleasure for many. It followed step-siblings in a toxic romance, pushing boundaries that made audiences cringe. However, that version at least avoided parents casually ignoring their kids’ disturbing relationship under their roof.

The new English-language version softens the story but keeps its messy, problematic core. It feels like a teen Jackie Collins novel mixed with “The Fast and the Furious” and “Never Back Down.” The step-siblings still fall for each other, making it hard for viewers to root for them. The film tries to make the romance less shocking, but the uncomfortable premise remains.

Charlotte Fassler and Dani Girdwood, also known as “Similar but Different,” make their directorial debut with this film. They handle the action scenes well but fail to fix the weak storytelling. The movie leans on clichés and struggles to justify its plot. Viewers who click play may find it impossible to overlook the unsettling dynamic. Despite a flashy presentation, the film lacks the depth or originality needed to make it worthwhile.

The plot centers around Noah (Asha Banks), who is 18 and unhappy about moving from Miami to London after her mom, Ella (Eve Macklin), marries British billionaire William (Ray Fearon). Noah leaves behind her car, boyfriend Dan (Harry Gilby), and best friend Haley (Tallulah Evans). Upon arrival, she receives a warm welcome from the staff, but not from her new stepbrother, Nick (Matthew Broome), who is arrogant and cold. Tensions between them quickly escalate into something more, as she is drawn into his world of fast cars and underground fights.

Noah and Nick share similar struggles; Noah has a troubled past with her abusive father (Jason Flemyng), while Nick deals with his mother’s alcoholism. Their dangerous lifestyles complicate their already tense relationship. The situation worsens when a criminal named Ronnie (Sam Buchanan) threatens Nick, forcing Noah and Nick closer together amidst the chaos, which results in a passionate but disturbing romance.

The story blends action, drama, and romance, but the questionable relationship makes it hard to watch. Some may find it thrilling; others may simply feel uncomfortable. Writer Melissa Osborne attempts to refresh the story’s dated elements by injecting humor and self-awareness, but the foundational issues remain. While the film includes some changes to downplay the extreme moments from the Spanish original, such as adjusting the timing of Noah’s kidnapping and making her a year older, the basic plot stays predictable.

The film has numerous logical gaps: Nick is wealthy, and Noah wants to remain in Miami, so why do they still live with their parents? This inconsistency is frustrating. Nick’s mother issues strict rules but ignores more significant issues, and the film culminates in cringe-worthy moments, including an unintentionally funny line about a character’s anger.

Although the narrative may falter, the visuals excel. Directors Fassler and Girdwood create thrilling action scenes, supported by cinematographer Ed Moore and editor Robert Frost, which enhance the excitement of car races and chases. Noah’s race against Ronnie evokes the adrenaline of “Fast and Furious,” featuring stunning cinematography that captures every sleek movement of Nick’s bright red McLaren.

Nick’s fight scenes are intense and realistic, thanks to the handheld camera work that adds a personal touch to the punches and struggles. Banks and Broome display strong chemistry, which keeps viewers engaged despite the uncomfortable story. Enva Lewis, portraying Jenna, steals scenes with her charm, humor, and natural acting, adding a layer of authenticity to their friendship that could have enriched the story.

Looking ahead, two more books in the series might be adapted into English films. However, the source material remains problematic, focusing on a step-sibling romance that feels unsettling. Even if audiences attempt to overlook this dynamic, there is little to sway their emotional investment in deeply flawed characters. Without significant redemption for these issues, the film ultimately leaves much to be desired.