Devastated Peter takes a Hawaiian vacation in order to deal with the recent break-up with his TV star girlfriend, Sarah. Little does he know, Sarah's traveling to the same resort as her ex - and she's bringing along her new boyfriend.
Friendless Peter Klaven goes on a series of man-dates to find a Best Man for his wedding. But, when his insta-bond with his new B.F.F. puts a strain on his relationship with his fiancée, can the trio learn to live happily ever after?
John Beckwith and Jeremy Grey, a pair of committed womanizers who sneak into weddings to take advantage of the romantic tinge in the air, find themselves at odds with one another when John meets and falls for Claire Cleary.
Pete and Debbie are both about to turn 40, their kids hate each other, both of their businesses are failing, they're on the verge of losing their house, and their relationship is threatening to fall apart.
Peter is a composer and a likable sad sack who's devastated when his girlfriend of five years, Sarah Marshall, the star of a cheesy CSI-style crime show, dumps him. He weeps, he rails, he mopes. Finally, his step-brother Brian suggests Hawaii, so Peter heads for a resort on Oahu where, as he's checking in, he sees Sarah and her new beau, Aldous, a polymorphously perverse English rocker. The weeping and moping start again, until Peter is rescued by Rachel, a thoughtful hotel clerk who invites him to a luau and to hang out. Although he constantly runs into Sarah and Aldous, Peter starts to come alive again. Will Sarah realize what she's lost, and what about Rachel? Written by
When Peter and Brian are talking in Peter's kitchen. Clearly from the scene the two of them are alone in Peter's apartment. Although, during their conversation one could see a reflection in Peter's "stay fresh" cereal box that a door opens and then closes in the same room that they are in. See more »
I normally do not go out for sappy, romantic roller coaster romantic fare; and Forgetting Sarah Marshall (FSM) pretty much falls under the romantic "date flick" rubric.
And I can't, for the life of me, quite figure out why I liked this so much. I guess the filmmakers succeed in making the welter of comic bits, scenes, and images come across like genuine romantic sweet chaos. How they succeeded is beyond my comprehension.
And maybe that's the point. Some films are good, some are bad, and some are sort of like miracles. Their power is inexplicable; and that's how FSM felt to me.
It was boffo, a bit over-the-top, a tad muddled, a mix of character study, revelation, and farce. And, as things unfolded, by dint of pacing and sheer comic/character acting power, I came to really care about the characters; and I loved it! I glowed through most of FSM.
Here's a way of looking at it: FSM was sort of like Shakespearean romantic farce. Maybe that explains why I liked it; because my mind already has a little engine for processing this kind of narrative stuff, built up from past experiences watching Shakespeare In The Park!
It also comes down to artistic sincerity. Most romance flicks are a little insulting because they're not sincere. There was something, in the end, believable and therefore redeeming about the characters and their silly little Hawaiian comedy of errors and feints.
And that's a miracle, in my book! This is not an ordinary date flick.
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