Voicemails for Isabelle, the newest romantic comedy on Netflix, is endearing and charming, with a hint of conflict to keep things interesting. In an attempt to deal with her sister's demise, Jill Shaw (played by Zoey Deutch, best known for Before I Fall, Flower, and Everybody Wants Some!) leaves a voicemail, not realizing that her sister's number has been reassigned to an elusive Austin-based real estate agent named Wes (played by Nick Robinson, best known for Jurassic World, Love, Simon, and Everything, Everything).

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Zoey Deutch is adorable and lovable as ever, with her captivating smile and quick wit making us laugh at every moment. Here, she plays a struggling baker from Texas who has settled in San Francisco. Her flustered portrayal, along with her natural charisma, makes her instantly likeable. Nick Robinson’s character begins receiving her deeply personal messages and soon falls for the woman he has neither met nor spoken to. It is kind of creepy, though, listening to voicemails intended for someone who is already dead, but that wouldn’t have made up the plot of the movie either.

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We get a background story on Jill, highlighting the strength and significance of the sisters' bond, which then explains why the voicemails continued even after her sister’s death. Then, we see Jill struggle to move forward with her life as she attempts to cope without her sister, meeting some quirky, abrasive, or fun characters along the way. We also see Wes struggle to find happiness as he daydreams about this unknown, mysterious woman whose voice he has been listening to despite violating her privacy.

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What follows is Wes making his way to San Francisco and, by chance, running into Jill and beginning an acquaintance with her. There are outings and conversations that gradually build a bond between the two. It is already a fairy tale of sorts, where the eventual coupling is certain.

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Nick Offerman (known for Parks and Recreation, Pam & Tommy, and Death by Lightning) as Chef Bastain can be considered both a comic and villainous character. He plays a pompous chef, which he pulls off greatly. Most of his conversations are condescending, though only to a certain extent.

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Somehow, I believe that Wes is the real villain due to his deception and withholding of the truth about the voicemails. Offerman’s character doesn’t add much depth to the story. Similarly, there is Lucas Gage as Arthur, who looks ridiculous in a moustache. The makers of the movie could have offered some side storyline for Offerman’s and Gage’s characters. These characters merely add to Jill’s stress and strife and do not contribute to the progression of the plot.

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Leah McKendrick, who plays Breeda and is also the writer-director, wants us to be taken back to a period when a movie like this would have been shown in theatres all over the world. Although this one appears glossier, she herself reminds us of You've Got Mail in the film.

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The movie opens with Robyn’s “Dancing on My Own,” but that is just the beginning of the pop tunes that make up the soundtrack. The soundtrack has been crafted by Este Haim (from the band HAIM) and Amanda Yamate. The movie also features Taylor Swift’s “Marjorie” and “New Year’s Day,” as well as an orchestral remix of Benson Boone’s “Beautiful Things.”

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In under 35 days, the cinematography crew, headed by Julia Swain, completed a very difficult shoot comprising 184 sequences across 79 different locations. Swain created visuals that highlight “warmth and character,” reflecting the emotional undertones of the screenplay. The film purposefully uses rich colour schemes, high-contrast visuals, and a natural-feeling tonality that seamlessly transitions from dazzling highlights to deep, reassuring shadows, rather than adopting a sterile or overly polished appearance.

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Zoey Deutch is outstanding, witty, and sweeter than any desserts her character dreams of creating. Nick Robinson is charismatic and charming, with a boy-next-door smile. Even after he comes clean about the voicemails, he manages to maintain his endearing persona.

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With obvious trajectories and safe storytelling, this isn’t a rom-com that you are going to watch again and again. The film delivers emotional depth, regardless of whether you see it as an eerie violation of privacy or a sweet tribute to old-fashioned romanticism. It's a lovely, heartfelt dramedy that emphasizes sisterly love and healing as much as romance.

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Overall, I am going to rate this movie 8 out of 10, largely because of Zoey Deutch’s beautiful performance.