Friends with Benefits

At the start of Friends with Benefits, director Will Gluck bids adieu to the protagonist of his “Hughes-ian” Easy A (a surprising cameo by Emma Stone), thus transitioning from an immature schoolgirl to adult characters who take sex as a natural part of life and a condition for their own contentment. I would highlight “their own”, but there are no feelings involved and the mere satisfying of physical needs is the reason why Dylan and Jamie end up in the same apartment and in the same bed. Unlike the protagonists of more conservative romantic comedies, they aren’t shy about openly saying what they want from each other. Long gone are the days when THAT, always hanging in the air, was never mentioned (the “Lubitsch touch”). With its wild pace during the first half, Friends with Benefits is nevertheless reminiscent of classic screwball comedies (including the nice work with contrasts both between the sexes and between New York and LA), though the filmmakers’ intention was probably to nostalgically recall the sexually guileless hippie era. Seemingly flown in from that era is the wacky mother played by Patricia Clarkson (who somewhat repeats herself; see Whatever Works), and the 1969 open-relationship comedy Bob & Carol & Ted & Alice runs on the television in Jamie’s apartment. The film’s ending is predictably far from being any kind of (sexual) revolution, but the likable actors get to it with their heads held high despite the aptly depicted, though shoddily constructed, relationship obstacles placed in their path. (I concede that they rather stumble toward the end.) Yes, even Justin Timberlake, whose acting I promise not to make fun of anymore. 75% (22/09/2011)

Will Gluck is pulling off a hat trick of excellent romantic comedies. He's not afraid of more vulgar words, daring scenes, and excellent pop culture references, and he nails it. At the moment, he's still at the top with a minus sign, but he already feels at home in the genre. He doesn't let up with the rhythm of jokes, and his romantic declarations come naturally to him (see the underrated Easy A). And when those jokes are salted with chemistry-infused dialogues performed perfectly by Justin Timberlake and Mila Kunis, audience satisfaction is at its peak. Despite being the least thematically distinctive work by Gluck, it paradoxically excels in technical aspects and pace. I also enjoy a weaker 90%. (25/09/2011)

The non-violent banter between Justin Timberlake and Mila Kunis is unusually charming and authentic, and it exudes an unbelievably positive energy that the main characters cleverly spice up with an unprecedented pack of spicy dialogues and clever linguistic tricks. And as long as it successfully suppresses all those generic romcoms of the past decade, everything is fine. Unfortunately, inevitably, there has to be a resolution and in the last act and suddenly we find ourselves a step lower, that is, in the category of a quality romantic comedy that fails to offer anything extra and does not embellish the constantly evolving genre in any way. (21/07/2015)

Much better than No Strings Attached, but it's also no prize. The whole thing follows a typical template from beginning to end. Far more sympathetic and believable than the main protagonists were almost all of the supporting characters, undoubtedly the best of which was the perfect Woody Harrelson. The guy is just divine. I also expected it to be even funnier, even though the gag with the mobile app to identify "women's days" is perfect. (23/09/2011)

Who would have thought that a no-strings-attached relationship between Mila Kunis and Justin Timberlake would be more spontaneous, likable and earnest than the same sort of fling between Natalie Portman and Ashton Kutcher (No Strings Attached)? (21/09/2011)