I’ll admit not understanding the appeal of the 50 Shades of Grey phenomenon. The introduction into BDSM was a worldwide sensation and the 2015 first film made half a billion dollars, the kind of money usually reserved for movies featuring muscular men in rubber costumes that use whips and chains for different purposes. I happily watched the first film to get a sense of what the big deal was and was unmoved. For a film designed to be titillating and provocative, I came away wishing it had more action (of any sort). With great success, author E.L. James asserted more authority in the film series. Out went original director Sam Taylor-Johnson, who at least provided a sleek sheen to the final product and sexual tension where able, and in came new director, James Foley (Glengarry Glen Ross). Out went the original screenwriter Kelly Marcel and in came a new screenwriter, James own husband Niall Leonard, which could only mean the threat of the film hewing closer to the book was a guarantee. James is giving fans of her popular though critically savaged romance novels more of what they want, and I guess what they think they want are relatively bad movies, limp sex scenes, and an inert romance.
Anastasia Steele (Dakota Johnson) is trying to get back on her feet after leaving her ex, billionaire and bondage enthusiast Christian Grey (Jamie Dornan). He’s got serious issues but won’t stay out of her life. He has to have her back, and rather easily the on-again off-again couple is back on and back getting it on. However, their sex life is threatened with women from Christian’s past and the question of whether he can settle down for good with such a plain Jane submissive like Ana.
There is a mystifying lack of conflict in the movie that makes 50 Shades Darker feel aimless. There are occasional bumps in the road in the form of old girlfriends still looking for their turn, and Ana’s aggressively inappropriate boss (Eric Johnson), but they’re dealt with almost immediately and without larger consequence. One of these antagonists is foiled by nothing more than a stiff drink to the face like a full-on Dynasty parody. Dealing with Christian’s past seems like natural territory for a sequel. A character as cold and self-serving as Christian could very likely attract a host of dangerous women. Stalkers who cannot let go would present an organic threat to their relationship and Ana’s literal life. A deranged former lover would provide a substantive question for Ana to deliberate. Is she doomed to the same fate? Bella Heathcote’s troubled character is begging for attention but she is so unceremoniously sidelined to the point of hilarity, and then she’s never seen again. Why should the story provide any question that these star-crossed lovers might not magically work out in the end? None of the mini-conflicts last longer than fifteen minutes before being effortlessly overcome, including a helicopter death scare. The shapeless plot structure is tediously airy, leaving too much space for characters and a world that doesn’t warrant the consideration. You would think the extra time would be spent with lengthy, over-the-top sex scenes stripping away all inhibitions and pushing the boundaries of cinematic good taste, but that’s not so much the case (more below). I knew we were in trouble when a sequence of Ana sailing Christian’s yacht was as long as one of the so-called outrageous sex scenes.
Here’s a prime example of just how poorly 50 Shades Darker is plotted. While dressing up for the masquerade, Christian admires Ana in lingerie. “You just going to stand there gawking?” she asks. “Yes,” he replies. Later, she walks in on him exercising shirtless and getting all sweaty while practicing for the Olympics on a pommel horse. It’s a flip of the male gaze, for once in the movie’s two hours. This is obviously a prime spot to repeat the dialogue exchange for a clever payoff, have Christian ask if she is going to just stand there gawking and her answer be in the affirmative. This movie cannot even do that! 50 Shades Darker doesn’t just fumble the big things, like plot and character and tone, it fails to even achieve modest, easily reachable payoffs that can be as ludicrously obvious.
Devoting more time with Ana and Christian outside of the bedroom is also best not advised. These one-dimensional characters are also barely removed archetypes from late night soft-core porn. Ana is an audience cipher but she’s also one incredibly dense human being. Forget the annoyingly mousey acting tics that Johnson (How to Be Single) is instructed to never abandon, this is a lady who just doesn’t get it. She’s had sex with her dude like minimum a dozen times and she’s never noticed the array of scars across his chest? After her boss tries to force himself on her, she fights back and runs into Christian’s arms, and he gets the guy fired (because a woman reporting a sexual assault on her own is not convincing enough?). Hearing the news, Ana acts deeply confused, as if she cannot understand why her boss is now not her boss. Did she just forget the upsetting assault? Every man in this universe seems to find Ana uncontrollably irresistible. She’s the ultimate prize to be owned. Even her own friend, who clearly has a crush on her, creepily makes her the centerpiece of his photography gallery show without her consent. She can huff and puff all she wants about agency but Ana is still a woman looking for her prince to sweep her away to a land of exotic privilege. Her reason for accepting a dinner date with Christian: she’s hungry. That’s fine, not every romance needs to be progressive or healthy, but when that guy is as controlling and worrisome as Christian Grey, then the romance starts to sour and become an exhibit of toxic misogyny. And that’s before Christian reveals that Ana, as well as his previous subs, looks like his dead mother.
Christian is your dark, brooding, oh so attractive as the bad boy but he’s defanged, turned into proper boyfriend material, the kind of guy who would drop down for an old-fashioned proposal of a girl’s dreams. In other words, the movie makes him boring. He’s still problematic as a romantic partner. While he swears this time will be different and no finely worded legal contracts are necessary, he’s still a controlling jerk and a boor. Even during his “please take me back” dinner he’s attempting to order for Ana. He deposits money in her account despite her protests, he buys the publishing company she works for to become her ultimate boss even outside their relationship, and he’s constantly insisting she is his and his alone in the creepiest of declarations. The movie seems to think it’s found a palatable excuse to explain away his warning signs. His mother, depicted in a hilariously sad picture that looks like a Wal-Mart family photo from a refugee camp, died of a drug overdose at a young age and he was physically abused by his father. It’s a slapdash, simplistic cover for his bad behavior. Another strange discovery: the childhood bedroom of Christian Grey has a framed poster of 2004’s The Chronicles of Riddick. I know Universal is trying to play some studio synergy here, but come on. How old is Christian supposed to be? Also, HE HAS A FRAMED POSTER OF THE CHRONICLES OF RIDDICK.
All of this can be moderately forgivable if the movie more than makes up for where it counts with fans, namely steamy and scorching sex scenes that were the hallmark of the lurid book series. While the first film was far from perfect, or even adequate, let it be said it still could constitute an erotic charge when it desired. With the sequel, the sex is shockingly lackluster. There are only four full sex scenes and they start to become weirdly routine. You anticipate that Christian will spend a little time here doing this, and little time there doing that, and then as soon as would-be penetration comes into being they oddly jump forward and spare the audience the sight of sexual congress. It’s different minor tracks of foreplay and then the movie seems to shy away from the sex itself. For something this supposedly kinky it becomes strangely mechanical, predictable, and boring. Another irritating feature is that every sex scene is accompanied by a blaring rock or pop song. It announces itself with what I call “sex guitar music.” It blares over the scene and makes it difficult for the viewer to better immerse in the scene. Some of the music is downright nails-on-chalkboard awful from a tonal standpoint, creating its own source of comedy. The absolute most hilarious musical pairing is Van Morrison’s “Moondance” while Christian is fooling around surreptitiously with Ana in a crowded elevator. Go ahead and look up the song and come back to this review, I can wait. The jazz flute playing over the scene is certainly… different. It might be the worst sex scene song pairing since Leonard Cohen’s “Hallelujah” in Watchmen. I stayed until the end credits and counted 27 songs used in a 118-minute movie. Reportedly there’s a score by Danny Elfman in the film but I challenge you to find it (easiest paycheck of his career).
If you’d like to be spared the turgid two-hour experience, I’ll spoil the specifics of the sex scenes in this paragraph so you can see how truly tame the movie is for something so reportedly transgressive and kinky. The first sex scene is their reunion as a couple and he undressed her, goes down on her, then climbs atop, then it’s over. The second involves him spanking her, upon her request, then he goes down on her, climbs atop her, then it’s over. The third sex scene involved Ben Wa balls as foreplay reminiscent of the superior and far more erotic Handmaiden (seriously see that Koran movie like 1,000 times before this), or was that the second sex scene? As I type this, it’s only been mere hours since I left my screening and I can’t recall the general details of the third sex scene, that’s how boring it was. The fourth is more montage but it’s an unleashed exuberance of sexual id. Christian dumps an entire bottle of massage oil onto Ana’s breasts, which seemed impatient and wasteful to me, but I’m not a billionaire. I cannot overstate just how dull and lazily staged the sex scenes are in the film, extinguishing any kind of titillation and strangely demurring once things get passionate. The nubile bodies are on display, Johnson’s in semi-permanent arched back, though Dornan is often coquettishly obscured (sorry again, ladies). The word that seems most appropriate for the sex scenes is “anticlimactic.” Ana jokes that she’s a vanilla girl and trapping Christian into a plain relationship, and their big screen sex life typifies this (anyone remember Ana’s question about what a butt plug was?). It’s a world of kink where nipple clamps are giggle-worthy accessories to the participants and the go-to sexual position is missionary. This movie is not the daring dip into untapped sensuality it’s been made out to be. It’s much more conservative at heart.
Ironically, 50 Shades Darker is a curiously reserved romance that lacks serious heat. The actors have very little chemistry and are fighting losing effort to convince you just how sexy they find one another. Dornan still seems like a dead-eyed shark to me. I know people aren’t going to this movie for the story, but some better effort could have been afforded rather than false conflicts that are arbitrarily resolved one after another. It’s an empty fantasy with boring characters and timid sex scenes that register as sub-soft-core eroticism. I wrote of the original film: “Surprisingly boring and rather tepid, 50 Shades of Grey feels too callow to be the provocative film experience it wants to be. It needs more of just about everything; more characterization, more organic coupling, more story, more romance, more kink. It is lacking in too many areas, though the production values are sleek, like it’s the most technically accomplished episode of Red Shoe Diaries.” Every criticism is still valid and even more so. Whereas the first film was about the flirtation and exploration of the coupling, the sequel inevitably treads the same ground, watching pretty dull people get dressed in pretty clothes and then take them off. For a book series so infamous for its tawdry smut, I was expecting more smut or at least better smut.
Nate’s Grade: C-
For decades, James “Whitey” Bulger (Johnny Depp) was the most feared man in Boston. After being released from Alcatraz, he returned home to his Massachusetts roots and consolidated power with an iorn grip. He and his cronies ruled Boston’s criminal underworld and were given protection from none other than the FBI. Thanks to agent John Connolly (Joel Edgerton), a childhood pal of Bulger’s, his crimes were given an implicit blessing (as long as he didn’t go too far) as he served as an FBI informant. In reality he was just ratting out his competition and abusing his power. This charade lasted for decades until Bulger went on the run, not being caught until 2011.
Black Mass really suffers from its two core characters, Bulger and Connolly, who are just not that interesting, which is a great surprise for a true-story about corruption and murder. Crime drama have an allure to them and this is accentuated by their colorful and usually larger-than-life figures that we watch commit all those terrible yet cinematic acts of vicious violence. Being the inspiration for Jack Nicholson’s crime lord in The Departed, you’d assume that the real-life Bulger would have a menace and personality that fills up the big screen, leaving you asking for more. Shockingly, he doesn’t. He’s a mean guy and he has his moments of severe intimidation, but he’s also practically a 1990s action movie villain with a sneer and one-dimensional sense of posturing. He doesn’t come across as a character but more as a boogeyman. We see him help some old ladies in the neighborhood, but you never get a sense he has any care or loyalty for his old stomping grounds, especially as he pumps drugs into the impoverished community. We don’t get any sense about how his mind works or what motivates Bulger beyond unchecked greed. We don’t get a sense of any discernable personality. We don’t have any scene that feels tailored toward the character (even though I assume many are based on true events); instead, Bulger feels unmoored and generally unimportant to Black Mass because he could be replaced by any standard movie tough guy. How in the world has a movie about notorious criminal Whitey Bulger found a way to make him this boring?
Then there are the underdeveloped supporting characters of Connolly and Bulger’s brother, Billy (Benedict Cumberbatch). The guy responsible for Bulger’s misdeeds getting the green light should be a far more important person in this story but he’s mostly portrayed as a stooge. He wants to look out for Bulger but despite one “you’ve changed” speech from his beleaguered wife, you don’t truly get any sense that Connolly has changed. You don’t get a sense of his moral dilemma or even his desperation as new leadership in the FBI starts to see through his poor obfuscations. He’s a stooge from the beginning and we feel nothing when his self-serving alliance comes to an unceremonious end. There is even less when it comes to Billy, a character that seems to pretend his brother is a different person. Billy works as a state senator. His political position must have supplied more inherent drama than what they movie affords. Black Mass is doomed when its three central characters are this dull.
Another problem is that the movie makes Bulger too protected for too long to the point it becomes comical. The script follows a routine where an associate of Bulger’s knows too much or is going to confess to the police, and within usually the next scene that character is easily dispatched, sometimes in broad daylight and with scores of witnesses. There are several recognizable actors who must have filmed for a weekend. I understand Connolly was protecting his meal ticket here with the Bureau, but Bulger is so brazen that we as an audience need more justification for how Connolly could cover for so long. It feels like Bulger has free reign and that extends into the screenplay as well. Without a stronger sense of opposition, or at least watching Bulger rise through the mob ranks, we’re left with a collection of scenes of the status quo being repeatedly reconfirmed.
I’ve figured out the way to revise Black Mass and make it far more entertaining. As stated above, Bulger is just too much a one-note boogeyman to deserve the screen time he’s given, and his onscreen dominance hampers what should be the movie’s true focus, Agent Connolly. Here is where the movie’s focal point should be because this is the transformation of a person. Bulger is the same from start to finish, only shifting in degrees of power, but it’s Connolly who goes on the moral descent. His is the more interesting journey, as he tries to use his childhood connections to get ahead in the FBI, but he consistently has to make compromise after compromise, and after awhile he’s gone too deep. Now he has to worry about being caught or being too expendable to Bulger. This character arc, given its proper due, would make for a terrific thriller that’s also churning with an intense moral ambiguity of a man trying to justify the choices he has made to stay ahead. It’s a more tragic hero sort of focus but one that has far more potential to illuminate the inner anxiety and psychological torment of the human heart rather than constantly going back to Buger to watch him whack another person. It’s far more interesting to watch a man sink into the mire he has knowingly constructed, and that’s why the narrative needed to shift its focus to Connolly to really succeed.
Depp (Pirates of the Caribbean) takes a few steps back from his more eccentric oddballs to portray the unnerving ferocity of Bulger, and he’s quite good at playing a human being again, though Bulger strains the definition of human. He underplays several scenes and his eyes burrow into you with such animosity that it might make you shudder. He’s a thoroughly convincing cold-blooded killer, though I wonder if part of my praise is grading Depp on a curve since Bulger is so unlike his recent parts. Regardless, Depp is the most enjoyable aspect of Black Mass and a reconfirmation that he can be a peerless actor when he sinks his teeth into a role rather than a series of tics. He also handles the Boston accent far better than his peers. Cumberbatch (The Imitation Game) and Edgerton (The Gift) are more than capable actors but oh boy do both flounder with their speaking voices. They are greatly miscast as two native Massachusetts sons.
If you’re a fan of crime thrillers steeped in true-life details of heinous men (it’s typically men) committing heinous acts, even you will likely be underwhelmed or marginally disappointed by Black Mass. There just isn’t enough going on here besides a series of bad events that don’t feel like they properly escalate, complicate, or alter our characters until the film’s very end when the plot requires it. The screenplay has propped up Bulger by his rep, told Depp to crank up his considerable glower, and called it a day. It’s a Boston mob story that needed more intensive attention to its characters to survive. Black Mass is a crime story that dissolves into its stock period details and genre trappings, becoming a good-looking but ultimately meaningless window into a hidden world.
Nate’s Grade: C+
It’s hard to be ignorant of the publishing phenomenon that is 50 Shades of Grey by E.L. James. The erotic trilogy became notorious for its numerous and often outrageous sex scenes. I have many female friends, and relatives, who read the series, and while not a one will admit to finding the series ostensibly “good,” they each read every book. In a way it reminds me of another popular yet critically maligned romantic series – Twilight. It should be no coincidence then that Grey began its early life as Twilight fan fiction. The movie adaptation was a hotly followed topic. After all, people argued, how could it possibly be rated R? How could you adapt it to the screen? With a female director (Sam Taylor-Johnson, wife to actor Aaron Taylor-Johnson) and a female screenwriter (Kelly Marcel) to steer the adaptation process, I figured I would at least get a sense of exactly what was so uncontrollably appealing about the series. For a film designed to be titillating and provocative, I came away wishing it had more action (of any sort) because the movie was just so freaking boring.
Anna (Dakota Johnson) subs for her sick roommate and gets to interview playboy billionaire Christian Grey (Jamie Dornan). He takes an interest in her innocence. And so he runs into her at the hardware store where she works, he fetches her after a drunken text on her part, and whisks her away to his luxurious Seattle high-rise. Before things can get frisky he has to share a secret. He’s a dominant looking the world over for women who are willing to submit to him and be his submissive. The world of sadomasochism is a new one for Anna, a 22-year-old on the verge of graduating college. However, she’s drawn to Christian and accepts his terms, and that’s when the sex gets taken to another level.
So much of the film is the drawn out flirtation between two characters that I found painfully uninteresting. Wasn’t this supposed to be the exciting and sexy story of risqué sex and overpowering urges? I’m by no means the target demographic but I felt unmoved by the onscreen sex because it was so sedate by Hollywood standards. I’ve seen more enthusiastic and engaging sex scenes skimming the channels of late-night cable TV. It certainly doesn’t even come close to rivaling some of the steamier sequences of films past, like 9 ½ Weeks, The Dreamers, Henry & June, Last Tango in Paris, The Piano, Risky Business, Sex and Lucia, Don’t Look Now, Y Tu Mama Tambien, Dangerous Liaisons, sex, lies, and videotape, Little Children, Mullholland Drive, and Secretary. For fans of romance with BDSM, please give 2002’s Secretary a chance since it is 500 shades superior to E.L. James.
I understand that most erotic TV series and films are readily designed for men, and 50 Shades was designed for women, and there are differences in approach and stimulation, but for a product that is famous for the degree of kink involved, I was sorely disappointed by the results. In short, the movie needs more kink. It plays out as an introductory guide to bondage and S&M. This aspect isn’t even explored until the very end. It’s too timid to really give in to the thrills of its premise and likewise the demand of its readership. There’s a lot of nudity, mostly from Johnson, but the sex scenes themselves are rather ordinary and sedate, all things considered. There are four of them in total for those curious readers wishing to keep track (I also tried keeping track of the times Anna bit her lower lip but lost count). The sex scenes are filled with plenty of moaning but not a one of them builds up to climax, a strange omission since we’re tracking Anna’s pleasures. I wasn’t expecting the graphic, and graphically drawn out, onscreen sex of Blue is the Warmest Color, but I was certainly expecting more after all the hubbub. In the end, a sexy movie is going to be known for its sexy scenes, which may or may not include sex (I feel like fans are going to be justifiably irked by the absence of full-frontal male nudity – come on, give the fans a bone here). 50 Shades of Grey is ironically far too tepid to register as much more than sub-soft core eroticism.
Then there are the characters, both of which are too one-dimensional, and also boring, to bring much interest. Cinema has always been interested in good-looking people getting it on, but unless there’s careful attention to plot and character, then you’re just recycling the same soft core setups. It is wholly transparent that James’ novel began as Twilight fan fiction because the couple occupies the same unhealthy relationship roles. The female lead is a stand-in for the audience/readers; she’s a mousey, shy, normal girl who gets swept away by a brooding and dangerous man who tells her he’s no good, insists she should not be with him, but cannot help himself falling for her because he sees her inner beauty. He’s more male chauvinist than complex character, and his obsession is less a sign of a tortured psyche and more, as displayed, a clear indication of a sexual predator. Anybody who requires his paramours to sign legal documents about what he can put inside them seems like somebody not worth knowing. He tracks her down across the country when she dares to see her mother because Anna didn’t ask his permission. Control freak or a budding sociopath? With a lack of tawdry sex scenes, the far majority of the film is Anna and Christian ramping up their almost endless sexual tension, which the movie will hit you over the head with. I didn’t feel a single thing between the two of them, partly because of how poorly written they are and also because of the lack of chemistry. We watch her bite her lip a thousand times. We watch her stammer. We watch him stare rather intently like a shark. The filmmakers are doing the work for us rather than allowing a romance to blossom organically. It’s cajoled and manipulated and feels inauthentic in every sense, even before the trip to the playroom begins.
There is one standout scene that is actually sexy, and apparently it’s quite different from the source material. As Anna and Christian go over his legal language for his submissive, they treat it as a business meeting with an arch sense of professionalism. It’s one of the few times Anna displays a spark of personality, as well as decision-making, as she goes line by line and says what she will and will not do. It’s played with a wry sense of humor but there’s also a sexy undercurrent throughout the scene, where these two adults are having fun with the preliminaries. If the rest of 50 Shades of Grey had this same sense of personality and fun, it might have worked as an engrossing erotic fantasy.
Johnson (Need For Speed) is an enjoyable screen presence even if there’s absolutely nothing interesting about her character. Anna is so absent a personality that it makes it easier for the story to present someone else doing all the work for her, pushing her, prodding her, giving her form. Johnson plays a lot of scenes for laughs, which work in a titter-generating way. I kept hearing Patricia Arquette’s voice whenever she spoke, but I may be alone in this unusual observation. Dornan (TV’s The Fall) on the other hand is terribly wooden. Again, he’s playing a rather terrible character with rather terrible dialogue, but it’s hard to feel any authentic sense of passion from the guy. It’s hard to say whether these actors are miscast or whether there could ever possibly be a suitable matching because of how lacking the simplistic characters are. They’re archetypes, and ones the movie has to keep persuading you are totally hot for one another.
So what is it that makes this property the would-be blockbuster that it is? The story arc has been done before for decades, going all the way back to Rudolph Valentino’s Son of the Sheik: the mysterious prince who comes and sweeps the princess off her feet to his exotic world of privilege. 50 Shades isn’t reinventing the wheel but it has struck a chord, and perhaps it’s the wish fulfillment angle, the introductory angle to a world of BDSM, or the plain Jane ordinary heroine that acts as a cipher for readership. The books are the books and the movie must be judged on its own account. I’m sure most of the series’ fans will be pleased one way or another, though I doubt many of them will find the movie an improvement over the book. Then again it does strip away James’ wretchedly torrid writing. If it wasn’t for the 100 million books sold worldwide, this movie wouldn’t be generating any of the hype it is, but is that the film’s fault? The hype machine unfairly builds expectations that will fail to be met, but then again it’s the over-saturated exposure that has ensured 50 Shades of being a Valentine’s weekend event for half the planet.
Surprisingly boring and rather tepid, 50 Shades of Grey feels too callow to be the provocative film experience it wants to be. It needs more of just about everything; more characterization, more organic coupling, more story, more romance, more kink. It is lacking in too many areas, though the production values are sleek, like it’s the most technically accomplished episode of Red Shoe Diaries. It’s a tedious story of the hazards and joys of giving up control, but I didn’t care about the characters. I need more than pretty people staring at each other for an hour while a breathy remix of a Beyonce song plays over the scene (to be fair that Beyonce remix is hot). The actors don’t connect together and the Christian character comes across as more of a monotone jerk than wounded bad boy. I’m sure 50 Shades has pushed millions into exploring aspects of their own sex lives they would not have felt comfortable exploring beforehand, and good for them. My friend Angie quipped that, if nothing else, the release of 50 Shades of Grey will cause a spike in battery sales for its opening weekend. It’s a shame then that the movie is too limp where it counts to be serviceable.
Nate’s Grade: C
Relationships are serious business. In most Judd Apatow productions, they’re funny business. With The Five-Year Engagement, there’s romance to be found in surprising places, but the omnipresent feeling is one of dread. All those advertisements highlighting the comedy will start to melt away, and what you are left with is a funny, if bittersweet, anti-romantic comedy, more uncomfortable with hard-hitting truths than congenial laughs. My theater even had a few walkouts.
Tom (Jason Segel) and Violet (Emily Blunt) are happily in love. He’s a sous chef in a trendy San Francisco restaurant and she’s eager to gain a graduate fellowship at UC-Berkley in psychology. She doesn’t get accepted to Berkley, but the University of Michigan offers her a spot. Tom and Violet agree to put their wedding on hold and move to Michigan so that she can take advantage of an amazing opportunity. Michigan is not to Tom’s liking, especially since he can’t find a fulfilling job and settles with making sandwiches at a campus sub shop. It’s all just temporary, he keeps reminding himself. Then Violet’s two years gets extended, and Michigan isn’t just a temporary pit stop, it’s possibly home. Tom’s disappointment spirals, and he and Violet begin to drift apart, he resenting her for giving up his own dream to support hers. She begins getting emotionally attached to her Psychology professor, Dr. Childs (Rhys Ifans), in ways that straddle the mentor-student boundaries. Meanwhile, Violet’s sister, Suzie (Alison Brie), gets pregnant after a one-night stand with Alex (Chris Pratt), Tom’s best man and coworker, at the couple’s engagement party. They get married, have kids, and Tom and Violet are still stalling. This is the story of two people who deserve their happily ever after except life keeps putting obstacles in their path to the altar.
You will be unprepared for how sobering The Five-Year Engagement can be. Some of these arguments between Tom and Violet cut right to the bone with an exacting level of painful authenticity. The level of uncomfortable intimacy can make the movie feel grueling. At the same time, I don’t want to give the impression that it’s some Apatow version of a John Cassavettes flick. There’s still plenty of comedy but the film is much more of a drama than any previous Apatow production. Part of the squirm factor comes in the very nature of the premise. The Five-Year Engagement picks up where most rom-coms end, with our happy couple together at last. We know these two are meant for one another; however, the majority of the screenplay involves watching two likeable, funny, loving people drift emotionally apart. Eventually they get back together in the end in a mad rush to staunch the gloom prevailing over the movie. It’s a hard act to watch people drift apart, losing the connections that once bound them together, and witnessing the glow of romance fade into complacency and resentment. Again, this is all handled in ways that find humor in uncomfortable places (like Tom, hopped up on painkillers, apologizing for smiling during sad news), but it can still be uncomfortable, and I don’t know if the ending, while happy, will justify the journey for many audience members.
I was shocked how much I found myself relating to the plight of the characters in The Five-Year Engagement, so much so that I simultaneously felt an extra level of engagement and discomfort. I will spare you the gory details, as I am a gentleman first and foremost, but relationships that just fizzle out rather than ending in some abrupt manner (infidelity, commitment issues, lack of availability, etc.) are not any more enviable. I related to the general sense of malaise that can plague a long-term relationship, the feeling of being forever a plus-one in your spouse’s circles, the resentment over the demands of a job or school, the small cracks that mask a lot of pain, the kind that is suffused with rationalization that to assert what you feel is to be selfish and inconsiderate, the loss of intimacy, physical and emotional, the guilt of being unhappy or making someone unhappy, and the sad realization that maybe love just wasn’t enough. What happens when nice people who are good for each other are just dealt rotten circumstances? Phew. I feel like I’m turning this into a therapy session. Let’s talk about something inappropriate in the next paragraph.
The biggest reason for sticking it out, both for Tom and Violet and the audience, is that Segel and Blunt have terrific chemistry together. Segel (Forgetting Sarah Marshall) is a big endearing lug of a man, and putting his career on hold to support his fiancé gives him an extra surplus of sympathy as we watch him spiral into despair and then resentment. He’s a funny, likeable guy, and we know he and Violet are meant for one another and we want them to get together, even as this looks less likely to come true after the circumstances that push them away. Granted, you must swallow the hard-to-believe reality that Tom couldn’t find a decent job in Ann Arbor, a college town that has to have some fine dining along the outskirts of town if not in the city. Blunt (The Adjustment Bureau) makes me fall in love with her yet again with a performance. Just like in 2011’s Bureau, she creates a charming, vibrant, luminescent portrayal of a person in love, so much so that I am envious of the man of her affections (her pantomime of “Circus Solei sex” made me feel all warm and fuzzy in multiple places). Violet has her own share of flaws but that just made her more relatable. I enjoy the way Segel, as a screenwriter (he co-wrote the movie with his regular collaborator, director Nicholas Stoller), is charitable with his characterization. He’s not afraid to make himself look mean and hurtful and wrong. He’s not afraid to make the girlfriends in his movies, even the ones who are about to dump him, justifiable in their decision-making. This is not a case of good guys and bad guys; it’s much more like life where everyone can draw good reasons, and the consequences just suck. Out of all of the Apatow films, Segel has done the best job of making his characters feel most like actual people than broad comedic types.
Luckily, the movie has its funny, peculiar little moments to make the drama bearable. I appreciate the little touches of comedy, which percolate through the heaviness. The wide supporting cast is peopled with the usual blend of oddballs and loudmouths. Pratt and Brie provide an ongoing foil as the couple who didn’t seem right for one another, made initial impulsive decisions, but have stuck it out and are happy; instead of waiting for the right time they embrace the mantra that there is no perfect time in life but the present. Pratt (TV’s Parks and Recreation) is great as a smart-aleck who grows into a responsible father. Brie adopts a British accent and becomes even more adorable, as all fans of Community would know. She’s quite funny as Violet’s sister and has a standout sequence where she and Violet have a very adult conversation in front of children so they disguise their voices as Cookie Monster and Elmo. The juxtaposition is a hoot and yet also a nice moment to add characterization. I also enjoyed seeing Chris Parnell (TV’s 30 Rock) as a sad sack faculty spouse stay-at-home father who clears his misery with kitting. There are some gory comedic set pieces around arrows being shot into legs and toes getting amputated, but the movie’s best comedy comes in the small moments, from Tom ‘s patchy “I’ve stopped caring” facial hair, to a self-described “pickle nerd” played by Brian Posehn, to the percentages of every undergrad named “Ashley” or “Zack,” to Tom’s hopelessly overmatched chase with Professor Childs, to a running gag about grandparents dying before Tom and Violet wed.
I would like to take this time and observe that the University of Michigan, as well as its tenured professor, is responsible for the disruption of happiness between a young couple in love. How many other couples have you destroyed, U of M? When will your taste for suffering ever be quenched? And no, I’m not just saying this because I’m a diehard Ohio State Buckeyes fan, as well as a grad student. My point being: Michigan wants to kill Tom, Violet, and every person you hold dear (In short: Go Bucks).
You’d think with a title like The Five-Year Engagement they wouldn’t want to overstay their welcome, but like most Apatow productions, the film runs a bit on the long side. About 20 minutes into the movie, I felt the need to go to the bathroom. I rationalized staying put. Then about 90 minutes in, that urge became overwhelming but I reasoned the movie had to be over soon. And I kept telling myself that… for another 30 minutes. Then I just ran out and did my business, feeling the elation of relief. At over two hours, the movie feels excessive. Because of the drift away structure, the movie feels especially long in the second act, where we get hurtful scene after hurtful scene, and where Tom and Violet go their separate ways and start dating new people (the fact that Violet dates her smarmy professor feels realistic and yet also like a gut-punch to Tom). Some of the colorful characters that typical people Apatow productions feel more forced than usual, especially Violet’s collection of fellow psych grads played by the likes of Kevin Hart (Think Like a Man) and Mindy Kaling (TV’s The Office). They don’t seem well grafted to the story. The happy ending, while welcomed, also feels unlikely given the proceeding drama, and its brash adherence to rom-com conventions is a tad disappointing.
Watching the dissolution of a relationship is something of a hard sell to mainstream audiences, though Vince Vaughn was able to get audiences to see his anti-romantic comedy, 2006’s The Break-Up, which admittedly had bigger names and a lighter touch on the material. The Five-Year Engagement has its share of comedy but it’s pretty sublimated to the heavy drama of watching two people in love fall out of love and battle resentment, self-destruction, and apathy. Segel and Blunt are so good together we’re willing to give them a wider berth to stretch their wings, sow their oats, and eventually find one another again, falling back in love after a flurry of obstacles, realizing that finding and connecting with your right person is an ongoing process and not some prize to be awarded. I found myself connecting with the movie in several ways, so much so that it made me fee dour for the rest of the evening (you may feel differently). The movie gets so many subtle things right about how relationships can sour, and yet it still manages to overstay its welcome and fill its roly-poly narrative with annoying characters. At least the movie has helped me discover my perfect woman: Alison Brie with a British accent. However, Emily Blunt will also do in a pinch.
Nate’s Grade: B