|
It seems the only publicity
that has circulated on this week’s newest release, “The
Break Up”, is that concerning the Brad and Jen break-up and the Jen
and Vince get together. Although many may flock to the screens to see
what the hubbub is all about with co-stars Jen and Vince, I urge you
to proceed with caution. Both have been and are known for being supporting
or ensemble players. And unfortunately, while the film as a whole does
have some high points, the two supporting players do not make a lead
nor carry the film, although they more than provide the explosive chemistry
that makes the characters and the film work.
Stereotypical and formulaic,
this is the story
of Gary Grobowski and Brooke Meyers. Meeting at a Cubs game (although
we never know how or why), Gary, a Chicago tour guide, somehow persuades
Brooke, who works in an art gallery, to dump her date and go out with
him. And apparently all it took was him buying her a hot dog. (It’ll
take more than that to get me.) Suddenly, we are deluged with flashbacks
that hopefully bring everyone up to speed and the present day situation.
Initially blinded by love
and romance, it’s not surprising that we actually meet the couple when
they are at odds with each other after a disastrous dinner party where
Brooke cooked and cleaned and Gary sat on his ass doing nothing. (Been
there. Done that. Definite grounds for appropriate name calling.) Obvious
to everyone, and ultimately to themselves, Gary and Brooke realize they
are doomed as couple. But, there’s one little wrinkle - a gorgeous,
plush, upscale condo they jointly own, live in and love. With the love
of condo surpassing the love of each other, neither one is willing to
move out. Gary takes to living in the living room while Brooke tries
to go on with her life - including dating other people. 
Don’t think I need to tell you what happens when Brooke’s dates are
met with slovenly Gary slumped on the couch drinking beer and playing
video games like an overgrown frat boy. What ensues is a comedy of anti-romantic
proportions based on mental ingenuity and wit, producing some hilarious
results thanks to some lively scripting by Vince Vaughn, Jeremy Garelick
and Jay Levender. From one round of insulting banter to the next, these
two give new meaning to rapid fire retorts. Edgy, biting and sarcastic,
even I (a master at sarcasm and insults) was in awe.
Vince Vaughn is more than
adequate as Gary; in fact, he may be Gary. A role he knows backwards
and forwards, Vince’s Gary is the same as every other role Vince has
played - stuck in college-life, refuse to grow up enjoyable, but predictable.
Interestingly, I got more guffaws out of Vince’s performance in “Mr.
and Mrs. Smith” and his one liners with Brad Pitt than here with Jennifer
Aniston. And speaking of Jennifer, always likeable, she is again here
as Brooke. The good news is, she finally breaks out of the “Rachel”
mode as she goes head-to-head with Vaughn with one line witticisms and
sarcastic zingers, hooking and jabbing like Rocky Balboa and Clubber
Lang. The chemistry between Aniston and Vaughn is undeniable. With the
volatility of a Molotov cocktail, the two are perfectly paired with
impeccable timing. Rounding out a short cast of characters is John Michael
Higgins as Brooke’s in-the-closet brother Richard, while Judy Davis
is a scream as Brooke’s eccentric boss Marilyn. Probably the best supporting
players, however, are Jon Favreau as Gary’s bartender friend and fellow
frat pack wannabe, Johnny O, and the always incredible and still beautiful,
Ann-Margret as Brooke’s mother.
Written by Vaughn and newcomers,
Jay Lavender and Jeremy Garelick, personal experiences obviously came
into play with this tit-for-tat battle. Effectively utilizing mental
dominance and second guessing, the three provide something for everyone
to relate. What I found particularly strong was the establishment of
the class differences in the two characters (she is in art, he’s a tour
guide) and how Brooke, who gave an air of distinction above Gary, sunk
lower and lower in her antics until the two were equals, only to have
Gary go even one step lower. On the downside, there are several scenes
with no follow-through. A great set-up but then nothing.
Following through on the
“anti-romantic” concept is director Peyton Reed. A favorite of mine
thanks to his impeccable work with “Down With Love” (although many of
my colleagues differ in that opinion), Reed, thanks in large part to
Production Designer Andrew Laws, effectively and efficiently draws visual
battle lines with characters, possessions - even the use of color -
all of which help story continuity. Moving along for the most part at
a comfortable lope, there are, however, periods with an uncomfortable
lack of laughter that make certain scenes more strained than the relationship
between Brooke and Gary. The upside is that despite the seemingly unsympathetic
characters, you won’t be able to stop yourself from being drawn to one
or the other.
So, pick a side, any side.
We all know that breaking up is hard to do. You can at least do it with
laughter with “The Break Up.”
Gary Grobowski: Vince Vaughn
Brooke Meyers: Jennifer Aniston Marilyn Dean: Judy Davis Wendy Meyers:
Ann-Margret Johnny O: Jon Favreau Richard Meyers: John Michael Higgins
Directed by Peyton Reed.
Written by Jay Lavender and Jeremy Garelick based on a story by Vince
Vaughn, Jeremy Garelick and Jay Lavender. A Universal Pictures release.
Rated PG-13. (105 min)
|
