A comedy centered around four couples who settle into a tropical-island resort for a vacation. While one of the couples is there to work on the marriage, the others fail to realize that participation in the resort's therapy sessions is not optional.
A bounty hunter learns that his next target is his ex-wife, a reporter working on a murder cover-up. Soon after their reunion, the always-at-odds duo find themselves on a run-for-their-lives adventure.
Two salesmen whose careers have been torpedoed by the digital age find their way into a coveted internship at Google, where they must compete with a group of young, tech-savvy geniuses for a shot at employment.
An affable underachiever finds out he's fathered 533 children through anonymous donations to a fertility clinic 20 years ago. Now he must decide whether or not to come forward when 142 of them file a lawsuit to reveal his identity.
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.
In Chicago, the art dealer Brooke Meyers feels not appreciated and neglected by her immature boyfriend Gary Grobowski, who is partner with his two brothers in a tourism business, and decides to break-up with him to make Gary miss her. Gary misunderstands her true intention, both follow the wrong advice of family members and friends, beginning a war of sexes with no winner.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
I don't like romantic comedy/chick flicks. That said, the first part of the film's non-relationship-ish parts were funny. And to be fair this one isn't really a chick flick. The truly comedic parts are all early on, while the later scenes rocked back and forth between TMI and schmaltz city.
There's some great shots of Chicago -- but OMG SO embarrassingly white. I think I counted no more than two African-American extras anywhere at anytime in the film.. oh - and the BUS DRIVER was African-American. Chicago is a vibrant multicultural city, this was way too Beaver Cleaver white! Jennifer Aniston plays quite the flawed character as Brooke Meyers. There's a fine line between funny and just basically unpleasant when you're dealing with a flawed character. She's a controlling, histrionic martyr, driven to the point of OCD. The story exploits these shallow neurotic shortcomings to the point where all I could do was feel sorry for Vince Vaughn. Oh Vince baby, you couldn't have seen that coming! Vince Vaughn's Gary is no prize, but there isn't a mean bone in his body. I liked the ease with which he captures the tacit, feckless, and unintentionally self-centered oblivion of so many American men. Theirs is a mild-mannered selfishness. And I'm bothered by the disparity between how accurate and hard-hitting his portrayal is, while hers is painted with such broad, cruel strokes. Imagine a bunch of guys sat around and concocted a story: "So like, this smokingly hot chick comes into your life and everything is going' great until everything flips upside down when she goes psycho on your ass..." I strongly suspect that any likable facets of the Brooke Meyers character are probably just Jennifer Aniston's real self shining through to override the stilted facade her character represents. Poor Jen, she did the best she could with what she got, but it's SUCH a misogynistic script.
Brooke Meyers is a caricature... I hear a growly announcer voice whisper "... When Girlfriends Go Nuts..." Brooke's friend Maddie's role is paper thin, and Ann-Margret? She flashes by on screen with an over-botoxed sneer -- OMG what a tease! She's got over the line billing but ends up as little more than a background player! There are other women in the cast. Our struggling couple hold a game night, and there's a girl in the kitchen who is addressed with the line "Hey what did you say your name was?" There's a couple of girls who get insulted in a bar, and some skanky dancer girls who strip and shimmy, but the majority of on screen women in this film have little or nothing to say.
The one commanding female role in this picture is that of Marilyn Dean. Judy Davis gives all as "M. Dean", the glowering gallery owner Brooke works for. Imagine a storybook, mythic fairy godmother dressed in urbane chic. Hers is an intriguing character study; but while compelling, this woman is ultimately disparaged: her big heart overwhelmed by a distasteful measure of eccentricity. She's a little scary, in that aggressive taut and overbearing manner some "women of a certain age" attain. Sadly, her loyalty is the only clue of any redeeming value within Brooke -- the Marilyn Deans of our planet don't waste time otherwise.
The broad stroke message is that women are either insipid or scary, no middle ground.
I read that Vince Vaughn wrote this story with Jennifer Aniston in mind before they'd ever met. I'm thinking the writers did their best to present an honest case, and their misogyny is as unintentional as is the character Gary's inertia and self-involvement. I'm also thinking that post Pitt, she was probably in the same kind of headspace I was in after breaking up with the love of MY LIFE. I didn't sign up for a misogynistic movie (I'm not an actress) no no... all I did was get myself involved with a gender-dysphoric alcoholic bank robber who was on the lam.
I'm sure Jennifer Aniston believed she was portraying a cute, funny, and well-intented woman. I think she did her best to humanize Brooke Myers, and overall, the picture works even if I didn't like it. However, if I was Jennifer Aniston, I think I'd be feeling a little used, a little cheap and dirty. Kind of like a bad taste in one's mouth. Poor Jen. Maybe this picture is like, the cinematic rebound.
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