I Give it a Year
Don't Go! I'd give it a miss.
Blunt British rom-com.
Four Weddings and a Funeral, Notting Hill, Bridget Jones' Diary, Love Actually - these gushy but annoyingly entertaining and quintessentially English films are popular the world over. It has been a while since there was another such romantic comedy to toss on the pile. The director of this film, Dan Mazer, was responsible for shock-flicks Borat and Bruno, so he is more renowned for filthy jokes and floppy body-parts than rom-com sentimentality. I Give It a Year, is an attempt to recreate the syrupy-sweet recipe, but with his dirty spoons and rusty bowls.
It begins with Nat (Rose Byrne, Bridesmaids) and Josh’s (Rafe Spall, Life of Pi) wedding. Surprisingly, it doesn't go smoothly, to which Minnie Driver, sitting in the congregation delivers a line that cleverly and conveniently matches the title of the film. What follows is a catalogue of uncomfortable events that make up the eponymous year. In short, rather than a traditional "will-they-won't-they-get-together" story, it is a series of reflections on a failing marriage, wondering all the while whether they will end the awkwardness, ditch each other and go out with two (unnecessarily American) Americans who, respectively, they clearly prefer. It is a fair enough idea to flip the genre on its head, but does the distinct lack of rom sill sustain the com?
It begins with Nat (Rose Byrne, Bridesmaids) and Josh’s (Rafe Spall, Life of Pi) wedding. Surprisingly, it doesn't go smoothly, to which Minnie Driver, sitting in the congregation delivers a line that cleverly and conveniently matches the title of the film. What follows is a catalogue of uncomfortable events that make up the eponymous year. In short, rather than a traditional "will-they-won't-they-get-together" story, it is a series of reflections on a failing marriage, wondering all the while whether they will end the awkwardness, ditch each other and go out with two (unnecessarily American) Americans who, respectively, they clearly prefer. It is a fair enough idea to flip the genre on its head, but does the distinct lack of rom sill sustain the com?
Of course, there are various humorous elements in seeing a troubled relationship play out, mainly because most of us have had them, and can appreciate the fruitiness of the smoothie when sipping it from a glass, rather than sitting inside the emotional blender, with the blades endlessly thrashing against our own sanity. All of the traditionally irritating relationship clichés are played out here - he won't take the bin out / she sings songs but doesn't know the words / he never helps look for lost things / she is always at work / whine, whine, whine etc. While this moan-fest isn't anything new, it has its giggly moments; a little refreshed for a modern audience from similar situations of days gone by.
Adding sharp, juicy flavour to the blend are moments of cringe-inducing awkwardness delivered by Stephen Merchant (The Office), as Josh’s Best Man. Similarly, a cameo by the magnificent Olivia Colman (Hot Fuzz) energises the film on each of her brief appearances. On the other hand, the two American love interests, played by Anna Faris (Scary Movie) and Simon Baker (TV Show, The Mentalist) feel token, added perhaps for commercial appeal. Their contribution to any humour is negligible, except to keep the overall story slowly lumbering towards its inevitable conclusion.
Adding sharp, juicy flavour to the blend are moments of cringe-inducing awkwardness delivered by Stephen Merchant (The Office), as Josh’s Best Man. Similarly, a cameo by the magnificent Olivia Colman (Hot Fuzz) energises the film on each of her brief appearances. On the other hand, the two American love interests, played by Anna Faris (Scary Movie) and Simon Baker (TV Show, The Mentalist) feel token, added perhaps for commercial appeal. Their contribution to any humour is negligible, except to keep the overall story slowly lumbering towards its inevitable conclusion.
Yes, it is kind of funny. But overall, not quite funny enough to combat the sad situation of a married couple growing further and further apart. A huge aspect of this failure is the lack of a stuttery, floppy-haired posho, typically played by Hugh Grant. He featured prominently in all of the films mentioned at the top of the page, and in each, delivered and defined the one essential ingredient for the English rom-com: charm. Without a "Hugh" there is virtually no charm in this film whatsoever, and all the characters become increasingly tedious until you feel that they deserve to remain miserable beyond the end of the hour and a half of the film. Ultimately, what could have been an interesting experiment with the traditional rom-com fails because of this key omission. It ends up becoming rather ugly – occasionally to be laughed at, but never to be loved.
Don't go, particularly if your relationship is a little rocky and you're looking for some escapism. It will raise a smile in parts, but its lack of charm makes it more tragically depressing than amusingly cheerful.
Don't go, particularly if your relationship is a little rocky and you're looking for some escapism. It will raise a smile in parts, but its lack of charm makes it more tragically depressing than amusingly cheerful.
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