Love song (2023)

Mira Ray and her near-fiancé John sit across from each other in a neighborhood café, trading playful text messages and warm conversation. The two of them lean into small jokes and plans, and Mira puts her phone down as John steps outside for a moment. She watches him through the window as he moves along the sidewalk; a car suddenly veers, strikes John in the street and he dies instantly. Mira stands frozen at the window, seeing the impact in full view and feeling the life they were building end in an instant when a vehicle collides with his body.

Two years after that afternoon, Mira lives with her parents in a house outside the city. She keeps a low profile, avoiding the rhythms of the city where the accident happened. Her younger sister Suzy calls frequently, urging Mira to return to New York, to rejoin the life she abandoned after the crash. Under persistent coaxing from Suzy, Mira decides to move back to the city. Before she leaves the suburban home, John's parents deliver a cardboard box to her: inside are items of his clothing and an engagement ring he never had the chance to give her. Mira opens the box and touches the worn fabric and metal, carrying the tangible remains of a relationship stopped short.

Mira sustains herself professionally as a children's book author and illustrator. Her publisher pressures her to produce another upbeat title; she faces a looming choice when the company warns that if she cannot deliver a marketable, cheerful book, an intern's position will be cut and Mira may be forced to return the last advance she received. Financial and creative pressure push her toward reentering the city's professional and social world even as grief keeps her cautious.

Across town, Rob Burns navigates his own ruptured future. His fiancée Elizabeth leaves him one week before the wedding; Rob endures the public and private unraveling and grows increasingly cynical about love. He repeatedly checks Elizabeth's social media and appears resigned to the collapse of his own romantic life. At work, his editor assigns him to write a feature profile on Celine Dion. The editor warns Rob bluntly: if he cannot approach the assignment with sincerity, he risks his job. The piece must convey genuine feeling about her music and influence. Rob receives a new corporate cellphone from his employer and begins exchanging messages with colleagues Lisa and Billy. They rib him about his dating prospects and push him to start seeing people again despite his bitterness.

Shortly after the phone is activated, unknown to his friends, Rob begins receiving intimate, emotional texts from an unidentified woman on that company device. The messages are candid and confessional; they unsettle him and intrigue him in equal measure. One morning he sees an alert that the woman has a blind date arranged through a dating app. Hoping to meet her in person, Rob goes to a local bar late that night and pretends to watch the room, scanning faces. He thinks he recognizes the sender when a woman leaves the bar in a cab with her date, so he follows at a distance and watches the cab pull away. He does not see that the woman ejects the man from the cab moments later, furious that he is being sexually forward; Rob only witnesses the initial entrance and departure and misinterprets the situation.

Rob moves forward with the Celine Dion assignment and secures an interview. In the studio, Celine quickly detects Rob's skepticism about love. She asks him probing, personal questions until he admits his doubts and resentment. Her persistence gets under his guard; she tells him, with frankness, that his closed-off posture limits his writing, and she urges him to listen to music and return when he has worked through his resistance. Rob runs out of time and leaves the interview unresolved, but Celine presses him to come back after he sorts his feelings.

Back in the city, Rob parses the content of the anonymous messages and deduces a clue embedded in one: the sender plans to attend a particular performance at the Metropolitan Opera. He spends several days at the Met, sitting through multiple productions and waiting in the lobby between acts, determined to find the woman who has been writing to him. On an evening when a popular opera is staged, he recognizes a figure in the crowd and approaches. He introduces himself and the two converse; she gives her name as Mira Ray. They trade phone numbers and agree to meet again.

Their first casual date after the Met is low-key; they eat cheeseburgers at an old diner and find a stream of shared interests. Conversation stretches over hours until the place closes. The following evening Mira invites Rob to her apartment for dinner. They cook together; Mira falls asleep on the couch after the meal and Rob stays on the sofa. In the early morning hours, Suzy arrives unexpectedly. Mira hears laughter in the living room and goes to see Rob and Suzy talking with ease. Finding them so congenial, Mira reacts with instantaneous panic and retreat: she interprets their rapport as a sign she might be an outsider in his life or that he is closer to her sister than to her. Her fear manifests as insecurity, and she pulls back from the burgeoning intimacy.

Rob continues his work on the profile while their relationship develops in fits and starts. At one point he returns to the rehearsal space where Celine is practicing and finds her there. She notices he has changed since their first meeting and remarks on it; his openness toward love appears to her as a real transformation. After that encounter Rob feels compelled to explore the connection he and Mira share.

Mira reaches out to Rob after the Suzy incident. They play basketball one afternoon, moving through physical exertion and laughter, and later she spends the night at his apartment. The night is tender; they sleep near each other and seem to be building trust. The next morning Mira wakes up and finds her past literally visible on Rob's computer screen. Her text messages that she sent previously to John--the ones she still carries in memory--appear displayed on his monitor. She takes in the juxtaposition of her private grief and his devices, and she reads the texts as evidence that Rob has been exposing or misusing her most intimate messages. Feeling betrayed and violated by the sight of her messages to John on Rob's public screen, she tells him sharply that she never wants to be contacted again. She collects herself, leaves his apartment and severs communication.

Meanwhile, Rob makes a different editorial choice. Rather than composing the assigned profile that presents Celine Dion in the expected format, he writes a personal piece about how her music reopened him to the possibility of love. In the article he frames Celine's songs as the catalyst that allowed him to pursue connection, and he states explicitly that through those songs he found Mira and that she changed him. He uses the column as a plea, declaring he made mistakes and asking for a second chance. He implores Mira to meet him at the location where he first began to feel hopeful again--the place between the Met and Central Park where their initial connection deepened.

Rob's editor reads the story and reacts ambivalently. In public, his boss reprimands him for ignoring the assignment and failing to deliver the promised profile on Celine. The rebuke is formal and sharp; the editor makes clear that Robert risks professional consequences for straying from the brief. Privately, however, the editor praises the honesty and quality of the piece. The boss tells Rob that although he cannot publish the original assignment as planned, the personal essay demonstrates potential and promises Rob a podcast opportunity as compensation for the risk he took.

Rob goes to the place he named in the article and waits. He positions himself on the path that links the Met to the cathedral lawn in the stretch toward Central Park. He watches pedestrians pass, scanning for Mira. He rehearses the promises he intends to make--promises to be candid, to honor her privacy, to be patient with her grief--and when she appears walking between the stone façade of the Met and the green of the park, he stands to meet her. They face each other in the space where their story has intersected before. Rob speaks quietly, agrees to the commitments he has written about, and Mira listens. He assures her of changes in himself, acknowledges the ways he misread moments and violated her trust by allowing her texts to appear on his screen, and accepts responsibility for the hurt she felt. After Mira hears his words and the specific promises he makes--promises to be careful with her history and to continue showing up--she allows reconciliation. They close the distance between them and kiss.

The final scenes unfold on that path between the Met and Central Park, with Mira and Rob standing near the stone steps and the trees. They hold hands, move together, and Mira accepts Rob's offer to try again. The narrative closes with them reconnected--Mira resuming life in the city with her work pressures and Rob securing a creative outlet in the promised podcast--leaving the reader on the precise image of their kiss and the quiet promise of a renewed relationship. John remains dead as the car that struck him caused, and his ring and clothes remain in the box Mira keeps; Suzy continues to be Mira's advocate; Elizabeth has left Rob and remains a presence in his past; Lisa and Billy remain colleagues offering comic pressure; and Celine Dion continues to appear as a figure who provokes honesty and sparks Rob's change, as he writes publicly about love and privately seeks the woman who once replied to him anonymously. The film ends with Mira and Rob together on the city path, having resolved their immediate conflicts and begun a new chapter at the place where their relationship first opened.

At the end of Love Song (2023), Hana learns the truth about the drugs, loses Take to murder, and is pulled into a violent path of revenge after he is killed by Kusumi. She reconnects with Makoto while running, and the ending leaves her pushing forward with her resolve while the people around her are caught in the fallout.

Hana first receives Take's final message and discovers where the stimulant drugs are hidden. That message changes the direction of everything she knows, because it ties Take's scheme directly to the yakuza and makes Kusumi's violence the immediate reality she has to face. Take's part in the story ends with his brutal murder by Kusumi after the scheme is uncovered.

After that, Hana is no longer only reacting to what happened to Take. She takes the information he left behind and vows revenge on Kusumi. As she moves while on the run, she unexpectedly comes face to face with her childhood friend Makoto, who had previously abandoned her. Their reunion happens inside the pressure of her escape, not in a calm moment, and it places Makoto back into her life at the exact time her situation is becoming more dangerous.

By the end, Hana's fate is defined by pursuit and determination rather than safety. She is still alive, still running, and still driven by the promise of revenge she makes after Take's death. Take is dead, Kusumi remains the killer who brought the conflict to its most violent point, and Makoto's fate at the ending is that he returns to Hana's path as her old friend after having once left her behind.

The most likely match is Love Again (2023), not "Love song," and yes, it does have a mid-credits scene. In that scene, Rob is doing his first podcast with Celine Dion as a guest.

I could not verify any separate 2023 film specifically titled Love song from the provided results. If you meant a different movie, share the exact title or a cast member and I can check that one specifically.

Hana's manager Take schemes to get stimulant drugs from a yakuza group in order to support and promote her career, but the plan collapses when Kusumi and his men uncover the theft. Take is then brutally shot, and Hana is pulled into the conflict when she learns where the drugs were hidden and decides to seek revenge on Kusumi.

After Take tries to secretly divert the drugs, Kusumi and his subordinates track him down, corner him, and shoot him. Before he dies, Take calls Hana and tells her where the stolen drugs are hidden, which becomes the key detail that pushes Hana toward retaliation.

After Take's death and Kusumi's pursuit, Hana cannot safely return home. When she unexpectedly reunites with her childhood friend and former lover Makoto, she explains that she is being hunted and asks to stay temporarily in his room, which gives her a place to hide while she figures out what to do next.

Their reunion begins as a practical act of shelter, but the emotional history between them quickly resurfaces. As Hana stays with Makoto and the danger around her escalates, the two grow close again, and their old feelings return, leading them to fall in love once more.

Hana seeks out the tattooist-informant Kunihiro to learn about the underworld and the people surrounding Kusumi. She later works at Boomerang, a shop used by yakuza in their dealings, and eventually acquires a handgun from the black market as her revenge plan becomes more concrete.

Yes, it is generally family-friendly in the sense that it is rated PG with mild thematic elements, but it is more of a quiet adult romance than a children's movie.

Potentially upsetting or objectionable elements include: - References to death and loss, including mention of deceased partners and a dead body buried nearby. - A kiss on the lips, with an implied off-screen sexual relationship afterward; there is no nudity or explicit sex shown. - Some drinking and a reference to pot. - Themes of loneliness, widowhood, and emotional sadness, which may feel heavy for sensitive viewers. - Slow pacing and reflective tone, which may not suit younger children.

If you want, I can also give a very short "age suitability" recommendation for kids by age range.