Engaged Alison Brie and Dave Franco finally hit a carpet together

11 Sep 2015 | Author: | No comments yet »

‘Sleeping With Other People’ review: The flawed deserve love too.

Writer-director Leslye Headland makes thoroughly modern romantic comedies that capture all the anarchy and agony of 21st-century love and its attendant rituals.At the Wednesday premiere for “Sleeping with Other People” at the ArcLight Hollywood, Alison Brie said the darkness was what drew her to Leslye Headland‘s romantic comedy. “I love that the movie is a romantic comedy but it has a lot of depth to it and a lot of darker moments,” Brie said. “You see the characters alone a lot.

”They’re not as good as they used to be,” we moan, yearning for some purer time when we didn’t know the time-tested beats, the inevitable outcomes, and the dynamics seemed more attuned to How We Date Now.Newly-engaged couple Alison Brie and Dave Franco were the center of attention at the Hollywood premiere of the actress’ new movie Sleeping With Other People.

One obvious problem is that virginity, marriage and children are no longer necessarily compulsory, which has complicated the happily-ever-after thing. Her feature debut, “Bachelorette,” depicted a wild and woolly pre-wedding bacchanal of party hardy mean girls, which dived into the complications of female friendship and competition.

Leslye was able to shift seamlessly from a dramatic tone to a comedic tone, even in the same scene.” The movie follows Brie and Jason Sudeikis‘ characters, serial cheaters who can’t hold down a relationship, who meet 12 years after a one-night stand. The 32-year-old brunette beauty wore a stylish dress that accentuated her curves and bared some flesh with a low neck and transparent side panels in the bodice.

Her best accessory, of course, was her large diamond sparkler on her left hand ring finger as she and her actor fiance, the younger brother of James Franco, basked in the attention. The second time, 12 years later, they’re sluts who don’t sleep together: At a sexaholics meeting in Manhattan, they remember that first sweet hookup on a rooftop at Columbia University. In the independent film, Brie plays a serial cheater who reconnects with her former college boyfriend played by Jason Sudeikis who’s a womanizer afraid of commitment. ‘This whole movie was really my first experience with sex scenes, probably the most uncomfortable part was the very small flesh-colored underwear that you wear while you’re shooting it,’ she said in an interview with New York Daily News. ‘It looks pretty tame. The reluctant lovers, Lainey (Alison Brie) and Jake (Jason Sudeikis), meet cute at a 12-step program for sex addicts, having already met equally cutesy in college a dozen years earlier when she was pulling some crazy-chick nonsense by pounding on another guy’s dorm-room door. Brie was there with fiance Dave Franco, Lizzy Caplan made an appearance, and “The League” co-stars Nick Kroll and Katie Aselton came out to support Jason Mantzoukas.

After that they never saw each other again, but Lainey remains crazed about the same dweeb who obsessed her in college: Matthew (Adam Scott), now a gynecologist. I’m wearing my bra and it just looks like he’s shirtless, but in reality, I’m in the tiniest, thinnest flesh-colored thong and he is in like a sock just in case we get too wide a shot.’ In an unpersuasively staged flashback, Lainey and Jake cozy up, losing their virginities, before going their separate ways; now, he is a serial womanizer and she’s still in love with her college obsession, Matthew (Adam Scott, wearing a straight face and a comic-strip villain’s mustache).

As for Jake, a man-whore who has decided the easiest way to break up with a girl he doesn’t want to spend any more time with is to sleep with her sister, he’s a fast-talking cad who is about to get rich off a tech patent, unless he can’t keep his hands off his new boss (Amanda Peet). Having lost their virginity to each other during a college tryst, they reconnect some 12-odd years later at a sex addicts meeting (led by an outlandish Billy Eichner). By keeping their budding friendship nonsexual, it eliminates the chance for those bad habits they’ve acquired to creep in, but has the unintended effect of creating an environment where true intimacy can flourish.

A scene in which he explains how to pleasure herself by acting like a “dirty DJ” is a keeper, as is the one in which the couple show up at their friend’s house for a kid’s birthday party and Lainey puts on a dance lesson while soaring on Ecstasy. But Lainey can’t seem to stop cheating on her boyfriends with one old flame (Adam Scott), and Jake cheats as a way out of relationships he’s too scared to end with a normal breakup. Their flirty talk is beautifully written — smart, zingy, with the banter moving at the frantic New York speed we all picture taking place in our heads — but Sudeikis and Brie navigate the verbal torrents so skillfully that it sounds like their characters, not a writer. Sudeikis joke through this foundational exchange, as they do throughout so much of the movie, with racing patter, some nudge-nudge, wink-wink and not a trace of believable feeling. Headland has a concept for a latter-day screwball comedy — two romantically challenged friends whose hang-ups create a roadblock to coupledom — but she doesn’t have the jokes or the emotionally textured characters that can fill in that conceit.

There’s a profound anxiety about heteronormative monogamous relationships and marriage in her films that eventually works itself out — often in very traditional fashion, but not without the chaos of rebellion first. If you want to revel in savvy, snappy, culturally hip conversation, the finer television networks are where that’s happening, and that’s where I expect Headland will wind up. In the 1930s and ’40s screwballs that the philosopher Stanley Cavell calls the comedies of remarriage, men and women trade insults and seductive looks as they work through what it means to be modern.

Sudeikis is spot on as the motor-mouthed, charming jerk womanizer you just can’t help but love, and the supporting cast includes Jason Mantzoukas, Andrea Savage, Amanda Peet, Adam Brody and Natasha Lyonne, who rip into the riffs and joke delivery. As a director, Headland embraces the camera as a tool to enhance the story, particularly Lainey’s inner experience: a swirling, vertiginous camera mimics the head spin of running into an ex, while a heart-pounding chase puts us in her shoes. Lainey, with her doe eyes and acerbic, suffer no fools attitude, calls out Jake’s hypocrisy even if the movie might be abusing the idea that this is a choice to keep her character more pure. The supporting characters are almost non-entities, save for Jake’s married friends (played by Jason Mantzoukas and Andrea Savage), who steal every scene they’re in.

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