Yawn. Poorly Filmed Snooze Fest.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

Divorce is a subject that merits exploration in fiction. Ideally, however, the dramatization shouldn't be as drawn out and painful as the real thing!The chemistry between Samberg and Jones is the best thing about the movie. Unfortunately, the plot necessitates that they aren't on screen together for anywhere near long enough - and whenever they aren't, the film is blah.A capitalised letter 'B' doesn't really look like a butt, no matter how much you want to pretend that it does, for the sake of a crass joke... otherwise, a person's torso would be literally underscored by a line.We're meant to understand that Celeste is at peace with herself come the ending, when she doesn't call out someone who cuts in line... This is meant to signify growth, but actually it doesn't. Just because the guy has a good excuse in the latter instance does not make her reaction wrong, the first time. People who cut in should always be shown up, if one has the assertiveness to do so!

While I feel ambivalent about this one, it is, overall, a pleasant enough ambivalence. Jones is interesting in the lead, and it is, after all, her film (which she co-wrote). The LA setting is handled well. There are some draggy moments but the film taps into the zeitgeist without seeming to try too hard at that. It is funny and it is sad. Is any of that new? Not really but the mix at least feels kind of fresh. If you go into this one without sky-high expectations you'll find ample stuff to like. Fun supporting roles. And a recognition of the bittersweet way things are. Romcoms are tough. This is no surefire classic and I wouldn't call it a date movie. Probably the best can be said is that it's not bad.

Still impressed by Pretty Woman? If yes, its time to wake up and join Celeste & Jesse. A young couple, too close to be just befriended, but friendship is what makes them stick together. What happens when love is gone, when your partner is going astray, when you notice to be all by yourself in times you think about the future? Celeste is neither the Supergirl to handle everything, nor the Hollywood puppet who stumbles her way. The director tried not to overdraw this character, and he did well. Yes, you could say, this movie is out of Celeste's perspective, feminine, not childish or dumb, and sometimes harsh. Don't expect any turbulences in this movie, all characters seem to talk their way through relationship and crisis, all characters tend to express their emotions by words. yes, it is a conversational journey, not a sensational.

Town would he moral of most romantic comedies is people meant to stay together should stick it out and people not meant to stay together should find an amicable way to soon live their own lives as independent people. This story, often more moving than funny though billed as a comedy, tells of a divorcing couple not able to seriously consider either societally normal option. Except for the two leads, the large ensemble cast is a delightful and fascinating mix of well played Los Angeles ditzy Yuppies, all of whom have made what would seem bizarre life choices in small town America, yet all of whom seem happy doing what they do and setting up their romance they way the seriously want to set them up. These two, though seemingly sociable, good looking young people all their friends want to have in their lives, are written for fiction as barely, whether in the backstory before the opening credits or the ever after while the final credits are rolling, never get it together at any level higher than cranky, fussing kindergartners not able to stay in the playgroup until time out or snack or nap would normally be called. Whateverr the writers want them to do in the next scene seems logical only to themselves, irritatingly destructive to the other person in the couple, and likely to cause their mates to cut them out of the next socials until they get a grip, to put it mildly. Any sequence of events would work, but here is the one the writers and editors seem to have chosen. They have already filed for divorce despite him not able to earn a living or find public aid or private support and her not able to communicate with anyone on a human level meaning sheshouldn't to to work alone, shouldn't be on the street or in the community alone and shouldn't be home alone. They next try to go through their daily routine as if still a couple despite going home at night and getting up in the morning as if living separate lives in separate homes. As he can get and sponge off any girl looking for romance and she can get any date until they face each other for their first conversation, they keep bumping into each other in public jealous rages for no reason they can explain. As he wants a baby without marrying the girl or being able to support her, and she wants normalcy despite pushing every interested man away, they seem to feel the urge to justify themselves to the other without believing they ever can. The final scenes have them breathing easy over their divorce complete without the final moments suggesting anything will change in the foreseeable future.