Blake Lively playing a blind woman in a glorified Skinemax movie from the director of “Finding Neverland”? This should have been a disaster.

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“All I See Is You”

Cinematographer Matthias Koenigswieser’s only previous credit of note was as an additional shooter on the set of Alma Har’el’s stunning “Bombay Beach,” but “All I See Is You” is a two-hour highlight reel of his talents. From Gina’s milky, curdled POV shots (which make it look as though she’s looking at the world through a rainswept windshield), to the upside down underwater sequences that allow her to dance along the surface of a swimming pool, most of Koenigswieser’s many-splendored images speak to the idea that what people see can shape how they see themselves. The more salacious the plot gets, the more beautiful the movie looks; by the time Gina’s sister takes everyone to a ridiculous Spanish sex club (imagine an episode of “Gossip Girl” directed by Walerian Borowczyk), it’s as though Forster is using the elegance of his style as a prophylactic for the absurdity of his story.

“All I See Is You” continues to be fun and involving even when things get truly ridiculous in the third act and Forster starts relying on the sheer momentum the plot in order to speed over its potholes (five points for anyone who figures out how or why this film climaxes with Gina performing at a grade school talent show). A lot of the credit for that belongs to Blake Lively, who does the best work of her career. She may not be asked to carry the same burden that she did in “The Shallows,” or to save a movie from itself like she was in “Cafe Society,” but she brings a real sense of dimension to the role of a woman who’s overwhelmed by new perspectives.

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It’s always felt like there’s a layer of glass between Lively and her characters, something opaque and reflective, but here she uses that to her advantage, creating a sense of distance that reveals the film’s real human drama. You might be laughing at the movie by the time you reach its go-for-broke final shot, but the look on Lively’s face is enough to fulfill the idea that loving someone is not the same as needing someone. It’s a performance that needs to be seen in order to be believed, made possible by a film that knows that seeing and believing can be very different things.

Grade: B

“All I See Is You” opens in theaters on Friday, October 27.

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