The Broken Hearts Gallery

If you turn the reality show “Hoarders” into a quirky romantic comedy, it might resemble The Broken Hearts Gallery, which doesn’t fulfill the artistic aspirations suggested by its title.

The latest cinematic example of angst-ridden millennials whining about their relationship travails over social media manages some scattered laughs amid its formulaic predictability.

The film follows Lucy (Geraldine Viswanathan), who works as an assistant to an overbearing Manhattan art gallery owner (Bernadette Peters). Indifferent about her job, she instead pours all of her effort into an unruly collection of trinkets and worthless discards from past boyfriends that clutters her bedroom.

As she wallows in her loneliness, Lucy’s friends urge her to confront her obsession. “You can’t get into a new relationship because you’re constantly mourning the old one,” explains one of her BFFs.

She’s still reeling from a breakup with an aspiring artist (Utkarsh Ambudkar) when a late-night episode of inebriated embarrassment finds her stumbling into the back of a sedan belonging to Nick (Dacre Montgomery) while assuming he’s a rideshare driver.

The forlorn Nick channels his energy into renovating a boutique hotel, which prompts an accidental outlet for Lucy’s bitter cynicism. As their friendship deepens, Lucy launches the titular space for strangers seeking catharsis and relationship redemption, which secures a viral following.

The Broken Hearts Gallery wants to generate sympathy through a relatable sense of emotional vulnerability, yet the story is driven by too many coincidences and clichés, especially in the sappy final act.

The film tries to coast on the charm of its ensemble cast, with bonus points for diversity. As Lucy softens her edges, Viswanathan (Blockers) conveys a captivating screen presence, and her chemistry with Montgomery (“Stranger Things”) has a playful authenticity.

It’s too bad the screenplay by rookie director Natalie Krinsky is populated with the same stuffy overachievers we’ve seen so many times before, and fails to capitalize on the potential mix of multicultural perspectives.

There are some clever variations on familiar themes here, including a memorable meet-cute. But without much fresh insight into contemporary relationships or the quirky New York underground gallery scene, the film winds up as shallow and superficial as its characters.

Rated PG-13, 108 minutes.