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.
A grown man caught in the crossfire of his parents' 15-year divorce discovers he was unknowingly part of a study on divorced children and is enlisted in a follow-up years later, which wreaks new havoc on his family.
A Princeton admissions officer who is up for a major promotion takes a professional risk after she meets a college-bound alternative school kid who just might be the son she gave up years ago in a secret adoption.
Julie and Jason have been best friends for years with no romantic interest in each other. He sleeps with someone new every few days, and she's looking for Mr. Right. Now in their thirties, they notice that their friends seem to lose all their good qualities when they have children - child rearing and the spark of Eros don't seem to co-exist. So, they decide to have a child together, share in child rearing, but pursue their own romantic lives. Things go well until he meets Mary Jane and she meets Kurt. Both seem like perfect mates. What could go wrong? Written by
The dialogue between Chris O'Dowd and Maya Rudolph about their age difference was a rewrite by Jennifer Westfeldt. After casting Chris O'Dowd, the issue of the couple's age difference had to be addressed in the film. See more »
When Jason describes his girlfriend Mary Jane to Julie and insists that she should meet her, while leaving the house Julie's white scarf is tied in one scene and untied in the next scene. See more »
You think that we don't love each other? You know, I have loved this girl for nineteen years, Ben. That is fully half my life. I know everything there is to know about her. I know the mood she's in when she wakes up in the morning - always happy, ready for the day. Can you imagine? I know that she is honest; she won't even take the little shampoo bottles from the hotel room, or sneak into the movie theater for a double feature. She always buys a second ticket. Always. I know that we have the ...
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While I understand the lead/writer/director/producer has been in a 15 year relationship with Jon Hamm, it's pretty obvious she doesn't have kids or know anyone who does or has ever come across any. The "kids" which supposedly form the foundation of the plot, that having kids wrecks your marriage, are nearly non existent except when these urban super-couples are seemingly having meltdowns and the 'kids' are in Defcon 3 tantrum mode. Color me cynical but the reason that marriages with kids fail isn't because of the kids, in fact that old saw 'we stayed together for the children' is often sadly more true than not.
Be that as it may. My main objection is the dialog. The lead never shuts up, literally never. Not for a second. She talks like a meth'd up high school cheerleader the entire time. And there are whole scenes, where EVERY single character in the scene is yammering like crack monkeys nonstop at each other simultaneously. Except when Adam Scott is launching into a snarky monologue about how cool it is to be as cool as him.
I would have given it 3 stars but +1 for finally putting Meagan Fox in a role where the character is as functionally retarded as she is in real life and doesn't pull any punches. Most of the characters are supposed to be in their mid 30's they act 20 and they make fun of young 20-something Meagan for acting 14. The only character who plays to type is the little kid, who in less than a year grows from birth to age 5 but supposedly is 2 and acts it. If there's a sequel he'll be graduating Colombia Law.
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