Given the sheer volume of romantic comedies rolling out of film studios year after year, crafting an original story that is equal parts genuinely funny and honestly moving is a necessary aspiration for any screenwriter. Jennifer Westfeldt (who already has my respect for taking on writing, directing, AND starring reins for this film) sought to meet that challenge, and she manages to come very, very close.
Friends with Kids is a film about a novel concept, two friends who decide to have the child they both want without all of the romantic nonsense (not to mention the considerable loss of sparks they've witnessed between their married friends), splitting all of the parenting duties right down the middle. It's an idea that, twenty years ago, would have been unheard of, much less celebrated on film, and ordinarily I'd give Westfeldt serious props for that. However, the film is just a little too self-congratulatory in terms of its originality, and there are moments when it seems the script compensates for imperfections by simply throwing back to the premise ("hey, remember how crazy the idea of two friends having a kid is?"). As a viewer I could see the places where the writing, trying its utmost to not fall into predictability, veered a little too far into awkwardness and stilted exchanges instead.
An issue that seems to go hand in hand with this forced notion of originality is the flawed pacing of the film. Friends with Kids front loads a lot of information and introductions right off the bat, and the first twenty minutes or so feel almost rushed. And yet later there are moments that drag, moments that had me glancing at my watch (never a good sign) and wondering if we were going to reach the film's conclusion any time soon. There is no single big chunk or subplot that I would necessarily cut (and maybe that is part of the problem, the front loaded exposition makes a lot of information feel critical), it's more a matter of scenes that go on just a few minutes too long, or exchanges that are drawn out just a bit longer than they need to be. The film's ending is especially problematic, as after a very dragged out thread of Westfeldt's character being in unrequited love with Adam Scott's character, the relationship is resolved in one of the most abrupt, awkward exchanges I've ever seen, one that leaves you wondering whether it's been too long coming or has happened too fast (it's somehow a strange mix of both).
I realize that given all of this it might sound like I didn't enjoy this film, which isn't true. As a writer and an amateur studier of screenwriting, I can't watch a film without looking for these flaws, wondering where the story might be tightened or tweaked. As a moviegoer, though, I left the theater satisfied (and more importantly, completely okay with the $11 I paid to see the film). What really helps the flaws in the script fly under the radar of most viewers is the performances. This movie utilizes the notion of an "all-star cast" in a really interesting way. Scott and Westfeldt, both talented but grievously under-recognized performers, take the lead roles, while superstars like Jon Hamm, Maya Rudolph, and Kristen Wiig fill in the friend circle as background players. This might sound like a poor casting decision on paper, but what it does is really allow the two leads (and especially Adam Scott) to really shine while providing a strong cushion of support. Rudolph's uneven marriage with Bridesmaids' Chris O'Dowd was a surprisingly pleasant highlight, especially in scenes where the other characters' relationships were proving far more tense (Hamm and Wiig are fantastic as the couple who slowly grow to hate each other). Talking about Adam Scott for just a minute more (and hey, we all know I could spend days extolling his virtues as an actor), I think the real feat he accomplishes here is the sympathy he pour into an otherwise flat, asshole character. I hate Jason--he's a pig, he's astoundingly self-absorbed, and I can't stand when a guy calls a girl "doll" not just constantly, but in complete seriousness. However, something in what Scott is doing here really does convey a tiny glimmer of goodness underneath all of that, one that doesn't feel forced.
On the whole, this movie sets itself apart by emphasizing the comedy in romantic comedy. Rather than go for the typical slapstick stuff that might earn a halfhearted laugh, Westfeldt gives us the kind of raunchy humor that, mainly due to films like Bridesmaids, has become acceptable again, especially when paired with a moving story. Friends with Kids might not be the best rom-com out there, but it is impressive in its pushing to the fringes of what this genre can be, something this generation of moviegoers sorely needs and is (contrary to popular opinion) smart enough to appreciate.
There wasn’t anything here that made me laugh-out-loud but there was definitely just enough of insight and good performances to hold me over. However, when you have 4 of the main cast members from the biggest comedy of last year, it’s kind of lame to give them really nothing funny to do or say. Good review. It was a good one, just nothing all that special. Check out my review when you can.
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