By: debbie lynn elias
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)
