It
will certainly be interesting to see how the human race responds to this film.
Advertised as a comedy (something of a dark comedy perhaps) but a comedy nonetheless,
The Break Up never finds any kind of consistent comic footing. If it succeeds
(which, given the reaction of the sold-out screening I attended seems unlikely)
it is as no-punches-pulled relationship drama. The initial fight between Vaughn
and Anniston that sets the stage for the break up is absolutely gut-wrenching
and literally word for word for the recurring fight my wife and I have at least
once every two months. And there I was in the front row - I would have recognized
that fight from the parking lot. I was floored by the first 15 minutes of the
film and fully expected to love it, but as I suggest above, it continues to be
serviceable as a drama, but never generates the laughs as advertised.
The
cast is an all-star affair, including the other Vince (D’Onofrio), Ann-Margret,
Judy Davis, Joey Lauren Adams, Jason Bateman, Cole Hauser, John Michael Higgins
(who stole the show in Best of Show) and Vaughan’s trusty partner in crime
Jon Favreau. All of whom seem to be at a loss to know exactly what kind of a movie
was being made. Bateman (doing an uncanny impression as a younger Alec Baldwin)
has some strong moments, as does D’Onofrio as Vaughn’s quirky brother
and business partner – but other than one extremely effective comic exchange
between Vaughn and Favreau near the end of the film, The Break Up is not an effective
comedy.
Vaughn
and Anniston are an apt pair, but when they were going for laughs, during their
more picayune squabbles during the break-up, the film becomes labored and dull.
The movie’s War of the Roses premise was well drawn, but as the two leads
battle and pick at one another like jackals, while refusing to let go of their
mutual investment in the condo they share, their exchanges were too depressing
and devoid of the kind of liveliness needed to carry it off. Mainly the fault
of the writing, the dialogue was okay, but it lacked the animosity necessary to
make it believable. Both characters remained too likable for it to work as a dark
comedy, and it had no chance of working as a drama because of the constant failed
attempts at comedy.
The
biggest problem here boils down to the fact that it was written by two first timers
who continually got caught up in the ultimate no-no of telling instead of showing.
Things that could have been conveyed with a rueful glance were often spelled out
with tiresome dialogue. Jeremy Gavelick and Jay Lavender should have known that
the audience has been in their character’s shoes and little exposition was
necessary. All of which wasted precious time that would have been better invested
in the stellar supporting cast. Thus Judy Davis, Ann-Margret, et. Al. were reduced
to little more than cardboard cutouts, used for little more than looks.
In
light of Vaughn’s recent comic comeback and Aniston’s desperate need
for a hit, I’m afraid The Break Up is going to be something of a setback
for both – even though they really did good work on this film. The fact that
it will be panned by critics and audiences alike certainly isn’t the fault
of either of their performances, Vaughn in particular displays a side to his acting
ability that we’ve seen little of to date.
Personally
I didn’t mind the ending, I thought it was about the only possible way to
go, given the tenor of the film, but when the credits popped up there was a collective
groan from the crowd and I overheard a couple behind me say as they bolted from
their seats, “c’mon, let’s get out of here before someone we know
sees us.” That, is not a good sign.
