Screenplay:
Dan FogelmanCinematography:
Andrew DunnCast:
Steve Carell, Ryan Gosling, Julianne Moore, Emma Stone, Lio Tipton, Jonah Bobo, Joey King, Marisa Tomei, Beth Littleford, John Carroll Lynch, Kevin Bacon (more)VOD (1)
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At fortysomething, straight-laced Cal Weaver (Steve Carell) is living the dream—good job, nice house, great kids and marriage to his high school sweetheart. But when Cal learns that his wife, Emily (Julianne Moore), has cheated on him and wants a divorce, his “perfect” life quickly unravels. Worse, in today’s single world, Cal, who hasn’t dated in decades, stands out as the epitome of un-smooth. Now spending his free evenings sulking alone at a local bar, the hapless Cal is taken on as wingman and protégé to handsome, thirtysomething player Jacob Palmer (Ryan Gosling). In an effort to help Cal get over his wife and start living his life, Jacob opens Cal’s eyes to the many options before him: flirty women, manly drinks and a sense of style that can’t be found at Supercuts or The Gap. Cal and Emily aren’t the only ones looking for love in what might be all the wrong places: Cal’s 13-year-old son, Robbie (Jonah Bobo), is crazy about his 17-year-old babysitter, Jessica (Analeigh Tipton), who harbors a crush on Cal. And despite Cal’s makeover and his many new conquests, the one thing that can’t be made over is his heart, which seems to keep leading him back to where he began. (Warner Bros. US)
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Reviews (14)
Once again, a film full of quality humor and great lines. I don't think anyone in the cast is up to Ryan Gosling’s standard, but Steve Carell shone exceptionally. There are plenty of scenes that made me laugh out loud and a few that made me melt a little. The music was also well chosen. I appreciate films like this in this day and age. The only thing that kept it from perfection for me was a bit less of an American ending. 4.5 stars.
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Such a stellar constellation, and such a shallow result. What does it matter that actors like Carell, Moore, Emma Stone or the new hearthrob Ryan Gosling shine in front of the camera, when they are part of a script so naive and shallow that it was impossible to ignore. The three romantic storylines fit together beautifully and the first face-to-face meeting of all the characters raises the film to a slightly higher level, but with the exception of Gosling's affair, the stories are not very interesting, in some respects they’re downright far-fetched (I would have shot that little boy), and also blindly predictable until the final reconciliatory happy ending. I don't want to criticize too much, because this comedy certainly doesn't deserve it, but as much as I was looking forward to and expecting an American version of Love Actually, in the end I had to put up with just another routine movie that was neither very funny nor original. 70%
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There's loads of these brisk, funny, situationally attuned, brilliantly shot comedies with polished casts in precisely fitting jackets, and no less precisely fitting roles. And if there is also an interesting dramatic subtext and some wisdom from life, much better. It should be noted, however, that Crazy Stupid Love entertains just a little bit more than its contemporaries. It's hard to say what it is, maybe the directorial dynamics, maybe the immediacy of the main characters, in any case, it’s great.
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Love is a struggle. Even in a film essentially devoid of conflict. Romantic comedies about people losing and regaining certainties in life will always have a place in any era. We will always want to run away and naïvely believe. The second film by the directors of the imaginative I Love You Phillip Morris neither advances nor enriches the genre, but it does exactly what it outwardly promises to do – it delights the viewer. It is more delightful than other films in the same category. Thanks to the well-coordinated, likable actors, smooth transitions between farce and tragedy, ironic references to genre clichés (rain, the Dirty Dancing reference) and the unexpected revelation that retroactively justifies the seemingly weak connection between the various story lines (and doesn’t seem contrived, because it consists in cleverly working with, or rather concealing, information). Due to the interconnectedness of the individual motifs, the comedy isn’t tasteless (shameless photos elegantly resolve one of the storylines), nor is it silly in its utterly unrealistic ending. Crazy, Stupid, Love is simply proof that a fresh approach can be taken to a seemingly played-out genre without the necessity of going to extremes. 75%
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An enjoyable likeable romantic comedy that I find a nice refresher after blockbusters, horror and Asian films. Steve Carell and Ryan Gosling are brilliant, the bar scenes are great, and the interesting twists and tricks are a delight. The highlight is the hilarious scene at the garden reunion, it will make your sides hurt. 80%.
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