How to Be Single

HOW TO BE SINGLE (Christian Ditter, 2016)

Alice (Dakota Johnson) is in a happy relationship with longtime college boyfriend Josh (Nicholas Braun), but she wants to take a break because she doesn’t feel she knows who she is outside of a couple. In HOW TO BE SINGLE she begins this presumably temporary split from Josh while working as a paralegal in New York City. At the office she meets and befriends Robin (Rebel Wilson), a hard-partying, commitment-resistant dynamo who is eager to teach her new friends in the ways of the modern single woman. Robin encourages Alice to get christened into the world of carefree hook-ups with Tom (Anders Holm), a bar owner with a pathological compulsion for ensuring that no woman will linger at his apartment the morning after. It doesn’t take long for Alice to determine that she and Josh were right for each other, but when she’s ready to end this experiment, she discovers he’s found another girlfriend during their time off.

Alice’s older sister Meg (Leslie Mann) is unattached and appears content with focusing on being an obstetrician than having a family of her own. Whether it’s her biological clock or daily interaction with infants, she eventually realizes she wants a baby of her own and turns to in vitro fertilization. Tom has a thing for Lucy (Alison Brie), who is friendly with him but appears to see him for what he is. Lucy wants someone serious about getting married and is using analytics on dating sites to locate the perfect man.

HOW TO BE SINGLE plays as a less bawdy version of SEX AND THE CITY when it was a television show, although the main characters aren’t nearly as tight socially as those on the HBO series. Alice and Robin are supposedly fast friends--and best ones too--yet Robin vanishes for long stretches, returning only when the film needs a jolt of energy. The episodic nature carves HOW TO BE SINGLE into segments that withhold it from establishing a comedic rhythm or narrative flow.

What Alice elects to do is the solo version of couples on THE AMAZING RACE that say they want to put themselves through a high stress situation to test their relationships’ strength. At one point someone on screen wisely acknowledges that maybe this isn’t the smartest thing to try. Screenwriters Abby Kohn, Marc Silverstein, and Dana Fox also have a curious idea of what Alice’s journey of self-discovery should be. She continues to be defined through the relationships she has, even if they’re fleeting, which directly contradicts what the character states that she wants to learn at the film’s start. There’s no personal growth for Alice other than some lip service toward the end. Otherwise the insistent message is that when she finds the right guy, she needs to lock him down as soon as possible. The film upholds the importance of female bonds yet often has the gals pushing each other into the arms of some guy lest they contemplate the horror of being alone for one second.

HOW TO BE SINGLE comes from the production company Flower Films, which Drew Barrymore co-founded. Alice is the type of character Barrymore would have been playing about fifteen years ago. Johnson is funny when showing how bad or out of practice Alice is at flirting, but she can seem too innocent, inexperienced, or passive. The film is divided among too many characters as it is, so it would have been better to invest Alice with the certainty that Brie’s Lucy displays. Wilson’s devil-may-care attitude boosts the laughs. Mann brings some pathos to Meg’s longing for a child and gets a physical comedy highlight when crawling out of a cab’s window while on the verge of giving birth.

HOW TO BE SINGLE gets tripped up by the fantasy it wishes to indulge about independence and the struggle for interdependence rather than codependence. It could stand to get a do-over, which is something the lead character would probably appreciate too.

Grade: C+

The Five-Year Engagement

THE FIVE-YEAR ENGAGEMENT (Nicholas Stoller, 2012)

Tom Solomon (Jason Segel) and Violet Barnes (Emily Blunt) are ready to get married, but life circumstances have a way of delaying their plans in THE FIVE-YEAR ENGAGEMENT. The San Francisco-residing lovebirds put their matrimonial designs on hold when she gets accepted into the University of Michigan’s graduate school but not the one at nearby University of California, Berkeley.  Facing imminent relocation to Ann Arbor for two years, they don’t have the time to pull together a wedding.

Tom quits his job as a sous chef so they can remain together.  He supports Violet pursuing her career in psychology and academia, although the sacrifice stings a bit more when it is followed with the knowledge that he was about to receive the chance to run a restaurant.  While he’s disappointed to miss out on the opportunity, he expects not to have any problems finding work in Michigan.

The Midwest proves not to be as hospitable as he imagined it, though.  Cooking jobs, especially at the compensation rate to which he’s accustomed, are virtually nonexistent.  He lands employment at a wildly popular delicatessen, but making sandwiches isn’t what Tom envisioned for himself.  The cold, snowy winters aren’t much to his liking either.  While Violet thrives, Tom descends into a funk that deepens when it appears their stay in Ann Arbor will be longer than anticipated.

The title of THE FIVE-YEAR ENGAGEMENT incorrectly suggests that the tension between Tom and Violet stems from the obstructions keeping them from the altar.  While their families and friends are perturbed by the seemingly perpetual postponements, these two act unaffected by their inability to become legally joined.  They behave as a committed couple and present themselves to others as such.  All they lack is the paperwork.

No, the widening rift in the relationship comedy comes from Tom feeling Violet may not fully appreciate what he is forgoing for her benefit while she is frustrated that he won’t communicate sufficiently with her about his dissatisfaction.  THE FIVE-YEAR ENGAGEMENT is most successful when focusing on the two of them together fending off the pressures others would put on their decisions.  The more it drifts from Tom and Violet’s front, whether it’s united or not, the more it becomes sidetracked with subplots and characters of little consequence.  Some of these scenic diversions, like Violet’s professor Winton (Rhys Ifans) trying to explain the proper pronunciation of his dog’s name, add amusing observational humor to the mix.  Director Nicholas Stoller, who co-wrote the screenplay with Segel, includes a preponderance of not unwelcome but unnecessary scenes that the background begins to squeeze out the main story.

Inevitably Tom and Violet’s journey as a couple reaches a critical juncture where they must determine how or if to clear a path out of the thicket blocking them.  To this point THE FIVE-YEAR ENGAGEMENT has fancied itself more levelheaded and emotionally realistic than similar films and deserves such a designation, but then it loses all of the accrued goodwill. The characters seem halfhearted in following the prescribed plot mechanics, yet they behave as the genre says they must.  That’s not to say the people in these films aren’t permitted to make dumb or bad decisions, just that they need to develop organically.  THE FIVE-YEAR ENGAGEMENT eventually rallies from these big missteps, but the damage can’t quite be repaired in full.  That goes double for much of the unfunny and lazy vulgarity decorating the film.

Segel and Blunt come across believably as a loving couple struggling to balance challenges in their long-range plans and usually trying their best to resolve them.  As Tom’s best friend Alex and Violet’s sister Suzie, Chris Pratt and Alison Brie provide a funny counterexample.  Pratt, who’s in the habit of stealing scenes on TV’s PARKS AND RECREATION, provokes laughter with his belief in saying what he thinks no matter how stupid or insensitive it might sounds.  Alex represents an exaggerated standard of how to talk in a relationship, but his directness isn’t entirely a bad idea.  Brie reacts to his idiocy with a mixture of affection and disapproval that shows these two have figured out how to talk.  (She also shares a standout scene with Blunt in which they conduct a serious conversation in Elmo and Cookie Monster voices.)

Like life, THE FIVE-YEAR ENGAGEMENT can be messy and irrational.  The shame is that the film doesn’t need to be those things quite to the degrees that they are.

Grade: C+