Luke and Kate are coworkers at a brewery who spend their nights drinking and flirting heavily. One weekend away together with their significant others proves who really belongs together and who doesn't.
After a break up, Jenny moves in with writer Kelly, her filmmaker husband, and their child. Despite a rocky start, Jenny's influence helps Kelly realize that an evolution in her life, career and relationship is necessary for her happiness.
Eddie Garrett agrees to watch a duffel bag for an acquaintance who is heading to prison. When he discovers cash in the bag, he's unable to resist the temptation and winds up deeply in debt.... See full summary »
Luke and Kate are co-workers at a Chicago brewery, where they spend their days drinking and flirting. They're perfect for each other, except that they're both in relationships. Luke is in the midst of marriage talks with his girlfriend of six years, Kate is playing it cool with her music producer boyfriend Chris. But you know what makes the line between "friends" and "more than friends" really blurry? Beer.Written by
Anna Kendrick is actually drunk in the drinking game scene that takes place in the cabin. This particular scene was the last thing that needed to be filmed that day, so Kendrick and Jake Johnson decided to use real alcohol instead of the prop alcohol provided. Because the movie is entirely improvised, this gave the actors more control over the scenes - in this case, Johnson's character is in charge of the game, so Johnson decided to make Kendrick drink more. See more »
When Kate is riding her bike to Chris's apartment for the first time, the production van carrying the camera can be seen reflected when they pass by a store window. See more »
I just needed a smaller place because my place is meant for two, and I am meant for one, so I am moving to a little place. It's good; it's got just enough room for me and my imaginary cat.
See more »
The title of the movie only appears in the ending credits and Jason Sudeikis's character 'Gene Dentler' is credited as 'Himself'. See more »
The End Of That
Written by Warren Spicer (as Warren C. Spicer), Nicolas Basque and Matthew Woodley
Performed by Plants and Animals
Published by Secret City Publishing
Courtesy of Secret City Records See more »
I've been highly anticipating this in the hopes that it would be this year's Celeste & Jesse Forever and it didn't disappoint at all: it's more light-hearted and less penetrative, but has the same keen eye for relationship dynamics, sly humor, realistic characters and fantastic soundtrack. It's the most true-to-life romantic comedy I've seen in years. The characters were so relatable, totally reminded me of people in my life, and Joe Swanberg doesn't need plot twists or external drama to push the story along because it unfolds so naturally through the character interactions and developments.
It doesn't dig very deep into its characters, but I felt that was accurate and appropriate: we don't know much about the characters because they don't let people get to know them. Daily interactions are shallow, jokey; the deep conversations and self-revelations only really happen at 4am by a bonfire after a few drinks. I think the film would have been much worse if it had a Katherine-Heigl-movie moment of all the characters spilling their feelings and wants and grievances to each other because that is not how life goes - at least not for these people.
Olivia Wilde is outstanding and while it's not the powerhouse role I've been waiting for her to take on, it does further establish her as an impressively natural and charismatic talent simply in need of the right roles. She's hilarious and buoyant and handles her dramatic moments - however fleeting or quiet - with expert skill. Jake Johnson was the perfect match for Wilde as they have incredible chemistry and their charming banter keeps the movie energized. Anna Kendrick basically plays herself, but she's very good, as is Ron Livingston with a curiously enigmatic performance.
It won't appeal to everyone, because as it is so realistic, not much happens. It's more focused on the almosts and the might-have-beens than the happeneds. But it's so delightful, funny, observant, and coyly ambiguous, I really hope people give it a chance. It's not going to revolutionize cinema or anything but it has an authenticity, spark and lively wit that the genre generally eschews in favor of saccharine clichés and melodramatic crying scenes.
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