I came to Friends With Benefits with the hope that writer-director Will Gluck would take aim at the romantic comedy with the same piquant mischievous zeal he displayed in 2010’s Easy A a film that earned him comparisons to such hallowed figures as Alexander Payne and John Hughes. And he does—for a while at least. The film springs from the gate with a fun revisionist élan promising to lay waste to the stale conventions that have long characterized the genre. A promise that in the end is sadly unfulfilled.
Attractive twentysomethings Dylan (Justin Timberlake) and Jamie (Mila Kunis) first meet as business associates—he’s a savvy web designer she’s a spunky headhunter who lures him to New York to work for GQ. Both happen to be recovering from nasty breakups (he was dumped by a Jon Mayer obsessive played by Emma Stone; her by a cloying slacker played by Andy Samberg) and they bond over their shared exasperation with relationships and romance.
One night wallowing in their mutual malaise over beer and pizza and an insipid rom-com (a fictitious film-within-a-film featuring uncredited Jason Segel and Rashida Jones) they hit on an idea: Why not use each other to sate our primal urges without all the hassles and complications that committed relationships entail? (That this is the first time either has pondered cohabitation strikes me as a bit disingenuous: Both rank among the upper-percentile of desirable people; surely the notion might have at least briefly occurred to them before?)
The pack is formalized by an oath sworn over a iPad bible app (the film is gratuitously tech-chic to the point of employing flash mobs as plot devices) and consummated in one of the film’s funniest scenes. Freed from any pretensions of romance and from any fears of embarrassment or rejection they approach the act from the perspective of two people seeking only to maximize their enjoyment. (He encourages her to look at it as a game of tennis.) They calmly recite their preferences idiosyncrasies and deal-breakers like agents negotiating a contract; during the deed they critique each others’ performance with utter candor offering helpful guidance when it’s called for. (She shows particular disdain for a technique called “The Tornado.”)
They’re hanging out they’re having sex; the only thing missing obviously is intimacy. It’s inevitable—at least in the peculiar moral universe inhabited by studio rom-coms—that one or both of them will come to crave it. And that’s when complications arise both for Dylan and Jamie and for the filmmakers. Faced with two roads Gluck opts to take the more-traveled one and Friends With Benefits gradually—and disappointingly—yields to convention affirming many of the rom-com tropes and clichés it initially seemed intent on skewering.
That the film is funny—wry and quick and (at least initially) irreverent—helps alleviate the let-down of its second-half surrender to formula. Kunis and Timberlake make for able verbal sparring partners their chemistry is real and their interplay natural and unforced. Accustomed to smaller roles and guest-hosting spots on SNL Timberlake acquits himself nicely in Friends With Benefits even if he at times appears outmatched by Kunis. I’m not quite prepared to forgive him for The Love Guru but I’m getting there.
Oh cruel technology! With so many remote controls for so many devices Michael Newman (Adam Sandler) always clicks the wrong power button. He’s sick of it. The workaholic is also sick of being too busy to find time for his family. On a late-night trip to Bed Bath & Beyond in search of a universal remote he kills two birds with one stone. After passing the bed section and the bath section Michael reaches the “beyond ” where he meets an eccentric man named Morty (Christopher Walken) who offers a remote to control his life. No more wasting time or missing out--he can fast-forward rewind and pause; his life is his own personal TiVo. It’s all well and good until he abuses the fast-forward button and misses all the beautiful minutiae of life. Before long he’s old sick and alone and realizes--thanks to the rewind button--that he was never there for his family. It’s a simple twist of fate for Michael but it’s neither his only one nor his simplest. With Click some Sandler fans may fear he’s veering towards the Jim Carrey path of gradually more earnest roles. No fear necessary however for this is not Carrey’s Eternal Sunshine of the Spotless Mind (similar as the broad existential strokes may be) and it’s not even Punch-Drunk Love. It’s merely light tear-jerking Sandler-style. He does prove in addition to his beaten-path shtick-y performance that he has some drama in him after all these years--which may or may not foretell more serious roles down the road. But there’s still an abundance of his trademark goofiness to go around. As Sandler’s onscreen wife Kate Beckinsale might go unnoticed if not for her scene-stealing beauty. Her interplay with Sandler is husband-wife cute if nothing else. Consistently funny supporting turns from Walken and David Hasselhoff--as Sandler’s jerk of a boss--provide the usual semi-big names that Sandler movies typically boast. Click is a high-concept film--too bad it’s all “summer-ed” up (or down) because film might be the best medium to explore such a fascinating and potentially deep notion. But this is summertime Sandler after all and who better to keep the serious stuff from getting too serious than Sandler’s pal/collaborator (and director of The Waterboy and The Wedding Singer) Frank Coraci? The director has the Sandler fan base at heart and the result is thus decidedly unsubtle and not always pretty for a movie that should’ve in all honesty gone with more gusto towards the morose undertones the story puts into place--though the director at least didn’t completely steer away from dramatic elements. The usual goods are still here (i.e. fart jokes Sandler’s at times hilarious yapping) but the pivotal flashbacks and life themes feel crammed adding to the movie’s general unevenness. Bruce Almighty writers Steve Koren and Adam O’Keefe add their supernatural twist to straightforward comedy but they fail to produce anything beyond a slightly less-funny Bruce with a side of Multiplicity and Mr. Destiny.