Funny, Messy, and More Than Just Romance

MOVIE REVIEW
Ghosted
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Genre: Comedy, Drama, Romance
Year Released: 2025
Runtime: 1h 43m
Director(s): Daniel Pacquette
Writer(s): Jade Asha
Cast: Jade Asha, Tara Hoyos-Martinez, Rosie Jane, Kevin de Groot, Chloe Adlerstein, Byron Swiegers, Todd Von Joel, Virginia Byron, Alex Montagnani, Sammy Attalah, Jennifer Aries
Where to Watch: available July 21, 2025

RAVING REVIEW: Romantic comedies love to ask whether love conquers all, but GHOSTED flips the question: What if the thing standing in the way of love is you? Built on the very real frustrations of dating in the digital era, this indie rom-com makes space for humor, heartbreak, and self-discovery, without losing the charm that defines the genre. While the film embraces some familiar tropes, it balances them with a refreshing honesty and emotional payoff that sticks. Don’t get me wrong, this is a very British, very romcom film, but there’s something to it, there’s a heart beneath it all that’s hard to explain.

The story centers on Mercy, a struggling London actress played with heartfelt energy by Jade Asha. She’s had her fill of flaky partners and disappointing dates, yet she keeps chasing that special connection, believing that somewhere out there is someone who gets it. Asha also wrote and produced the film, and her connection to the material shows. Every awkward coffee date, every late night, every impulsive swipe on a dating app feels rooted in lived experience. Mercy doesn’t always make the right choices, but the film isn’t interested in perfection—it’s here to explore growth and transformation.

What makes GHOSTED stand out is its willingness to get messy. Mercy’s love life spirals into chaos after two men—one from her past, one from her present—suddenly complicate what should’ve been a clean break. But the film isn’t built around a simple love triangle. It’s about how chasing attention and validation can distract us from what truly matters: our families, our friendships, and our sense of self. The title may refer to being ghosted by a guy, but it’s also about the way people ghost themselves, trying to become what others want.

Daniel Pacquette brings a steady, uncluttered approach that allows the performances to shine. While the budget is modest, the London setting provides a lively backdrop that complements the story’s emotions. There’s a rhythm to Mercy’s life that mirrors the arc of anyone who’s spent too much time swiping, hoping, and wondering why it’s all so hard.

Kevin de Groot and Byron Swiegers both turn in strong performances as Mercy’s love interests, each bringing something different to the table without sinking into caricature. Grand romantic gestures or hollow archetypes don’t define them—instead, they reflect the kinds of people many viewers will recognize from life. What’s more important is that they’re not the point. As Mercy juggles her feelings, what becomes clear is that her biggest challenge isn’t choosing between them—it’s figuring out what she wants beyond them.

That shift in perspective is what gives GHOSTED its power. While the film begins in familiar rom-com territory, it gradually shifts into a more introspective tone. The moments of awkward humor and cringeworthy flirtation are balanced by scenes of reflection, honest frustration, and the kind of growth that’s rarely portrayed with this much clarity. The film doesn’t ask the audience to root for the perfect couple—it asks them to root for Mercy, even when she’s flailing.

Asha is the undeniable heart of the project, and her performance carries the film with humor, vulnerability, and just the right amount of chaos to make it feel real. She’s not trying to be the next rom-com darling—she’s building something more grounded. Her delivery, especially in the more self-aware or raw moments, hits with an intensity.

Some viewers may find the structure somewhat traditional, and the plot does occasionally flirt with a few clichés. There are familiar story beats, and yes, there’s an inner monologue and montage or two. But instead of feeling stale, those moments serve as anchors—reminders of why these formulas exist in the first place. What makes GHOSTED work is that it doesn’t pretend to be subversive just for the sake of it. It embraces the genre and then carves out its own space within it.

By the end, GHOSTED doesn’t deliver some life-changing epiphany or radical genre twist. What it offers is something better: a character who finally pauses long enough to ask what she wants. That’s the real heart of the story—not who gets the girl, but who the girl becomes. And that’s what makes it worth watching.

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[photo courtesy of MIRACLE MEDIA]

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