Douglas McGrath’s new movie I Don’t Know How She Does It is based off of Allison Pearson’s wildly successful novel of the same name that was on The New York Times’ hardcover bestseller list for 23 weeks. Both mediums focus on the complicated life of Kate Reddy (played by an I'll admit it enjoyably perky Sarah Jessica Parker in the movie) who is the woman all working mothers want to be: smart determined and fiercely passionate about doing everything she can to balance her family with her high profile job at an investment banking firm. She’s the mom who’s thoughtful enough to try and distort a store-bought cherry pie with a rolling pin so it looks more homemade for her daughter’s bake sale and the one who finds joy in searching for a clean blouse that doesn’t have the marshmallows from her son’s Rice Krispies Treats soaked into it. Of course Kate dreads leaving her children each day but she loves her job very much and allows herself to part ways with them by concentrating on the belief that one day they’ll understand how much she genuinely wanted to go to work. And while it’s clear the movie’s goal is to humorously depict the lives of women who work and have families it shockingly shies away from ending the still-popular belief that women are best "pregnant barefoot and in the kitchen."
Within the first minute of the movie the fourth wall is broken -- and continues to break throughout the movie -- and several of Kate’s colleagues and friends verify that Kate is an outstanding mother and a supremely productive member of the work force (which was pretty unnecessary considering how we were just going to see all of Kate's talents anyway). Her friend Allison (played by Christina Hendricks) opens up a bit more than the others and unveils that even though Kate's totally great she really wasn't doing very well with her responsibilities last winter. Then we flash back three months and watch as Kate goes from being an unnoticed employee at her Boston firm to writing a proposal and catching the interest of Jack Abelhammer (Pierce Brosnan) at the branch’s New York office. Jack is enthusiastic about Kate’s ideas and decides he wants to take the proposal and present it to a major client which excites Kate because it would be great for her career. However the problem is the proposal needs a lot of work before it can be shown to anybody and Jack is careful to ask if Kate is comfortable traveling between Boston and New York and working day and night for two months until the whole thing is finished. In the back of her mind she knows she should be spending heaps more time with her family instead of agreeing to take on more responsibilities at work but she decides to do it anyway because as the saying goes “if it ain’t hard it ain’t worth it.”
So Kate and her assistant Momo (played by a finally enjoyable Olivia Munn) begin working overtime. She spends three days a week in New York and the other four days glued to her computer in Boston. When she does make plans with her kids to do something like build a snowman she ends up flaking out because something happens at the last minute regarding the proposal and she needs to drop everything to go work on it with Jack in New York. As angry as the kids are with their mom Kate’s husband Richard (Greg Kinnear) is even angrier because since his wife is away and working all the time he becomes the caregiver by default.
Now here’s where things get a little dicey: Richard is an unemployed architect and so I was surprised to watch him give his wife so much grief for working to keep their cute children fed. However the audience is supposed to understand where he’s coming from: we’re supposed to applaud Richard’s courage to make Kate feel guilty for being with Abelhammer instead of with her kids and we’re supposed to take his side as he repeatedly tries to convince her that she should be ashamed of putting her work ahead of her family. We're supposed to figure out that Richard feels bad for not working and understand that when he's screaming at Kate for having a job he's really just venting about how frustrated he is that he's unemployed. And here’s where the movie has the opportunity to open up and blossom and be symbolic of how a woman should never have to apologize for having a career. Exactly here is where the movie should have stretched out its wings and showed Kate yelling from the top of her lungs about how unfair it is that women are frowned upon for having a job and a family whereas it’s completely fine for men to have both. But instead of defending herself like that Kate responded to her husband’s grievances by bowing her head down and acknowledging that she’s wrong for working so hard for being away from her children for making bad choices and for making her husband’s life harder. But the thing is that she hasn’t made bad choices! She’s made all the right ones because her husband doesn’t work! The point is McGrath had the opportunity to really emphasize how men with families and women with families are treated differently in the workplace -- but he ended up depicting how dangerous it is to be a woman with a job because it means that one day her husband might resent her and make her apologize for it. And so instead of significantly expanding upon Pearson's efforts to level the ground for women with children in the workplace McGrath (rather confusingly) stopped just short of following her lead.
There are two ways to watch a film like Just Go With It. The first is to look at the characters and situations as if they existed in the real world. Through this lens as with most Hollywood productions the story is far-fetched and trite the characters too stereotypical to stomach. However even if you leave practicality at home and well just go with it it’s hard to find anything to enjoy in Adam Sandler’s new movie about a playboy plastic surgeon that convinces his assistant to pose as his ex-wife in an attempt to woo a new lady friend.
Danny Maccabee is afraid of having his heart broken like it was when he was in medical school so he uses his would-be wedding ring from a disastrous engagement as a chick magnet because you know all single ladies love married men. However when he finally meets and beds the girl of his dreams the tactic backfires as she thinks she’s just wrecked a home. Enter Katherine (Jennifer Aniston) Danny’s ordinary (well ordinary when compared to bombshell Brooklyn Decker) office mule who is lured into an ever-expanding web of lies so that he can win his Ms. Right.
The film’s weakest link is its script from writers Timothy Dowling (Role Models) and Allan Loeb (The Switch). Their simple story relies heavily on Sandler’s tried-and-true formula of physical gags and broad family humor offering the audience nothing they haven’t seen before and virtually no organic comedy. While the premise and principle players are very predictable the supporting cast injects some life into the picture most notably young starlet-in-training Bailee Madison whose cutesiness is the only thing I didn’t get sick of throughout the film. Honorable mentions also go to Nick Swardson as Sandler’s crazy cousin and Nicole Kidman who ought to try her hand at comedy more often.
Unfortunately their charm doesn’t compensate for the film’s uneven pacing. I was incredibly bored throughout the second act which is hampered by scenes that play longer than they should but biggest conundrum is Sandler himself: the main draw in Just Go With It as well as its most unlikable element. His character’s arc not to mention his performance is about as artificial as the breasts he gives his clients. Not only is Maccabee a self-centered liar; his deceptions go unpunished as he coasts through the film’s climax into happily-ever-after territory. Some will accept even embrace the Hollywood ending but the conclusion is a loss for Aniston’s character who is otherwise pleasant to watch. A dignified single mother she’s at first reluctant to help Danny due to the immoral nature of his plan but falls for him because he eventually develops a relationship with the kids. I guess she didn’t see him throw them in the mud earlier in the movie.
Generally speaking the greatest strength a contemporary romantic comedy has is its funny factor but director Dennis Dugan unexpectedly creates a comfortable quixotic vibe in Just Go With It which is surprising considering his past endeavors with Sandler (among them I Now Pronounce You Chuck and Larry and Grown Ups). It doesn’t make up for the lack of natural laughs but will sate the target audiences’ appetite for a harmless and forgettable Valentine’s Day snack.