Crazy, Stupid, Love.

The ironic and embarrassing thing is, the person I was watching this with knows how relatable the theme of "finding your one true soul mate" is currently. This will be difficult to review without affecting me personally, but when a film does that to you it just goes to show how powerful the art can be. We follow a variety of characters as they explore the emotion of love. A middle aged couple going through a divorce, a babysitter who has fallen for her employee, a young boy who's in love with the babysitter, a promiscuous dating expert who eventually finds "the one" and a young woman hoping for a proposal. Eventually, we find that these characters interlink in a sprawling narrative detailing the joys and sorrows of love. Despite all that, the biggest element that resonated with me the most was to never give up fighting for the one you love. And I know the person this refers to in my life will read this review, and I know they will do everything in their power to not acknowledge my true feelings...but it's worth fighting for right? Absolutely, and the film conveys that message eloquently, particularly in the third act which I did not see coming at all. I literally shouted "no...nooo...NOOO!" as one character attempts to regain a form of relationship, albeit goes terribly wrong. The narrative consistently switches between characters, reminiscent of the classic rom com 'Love Actually', which keeps the pacing interesting. Acting was emotionally investing from everyone. Ryan Gosling shows us that his comedic timing is excellent, Steve Carell is able to perform some dramatic scenes and Julianne Moore is always dependable. Emma Stone's character needed a larger amount of screen time, I felt her character was unevenly balanced. We see practically nothing of her in the first two acts and then she becomes the main attraction in the third. It just meant I hadn't warmed to her like I did with the other characters. I thoroughly enjoyed this though, I laughed, teared up and smiled. Love hurts dammit!

Crazy, Stupid, Love. is one of, if not the best, American romantic comedies of the past decade. This may come as a shock to some (as it surely took me aback) but there is no other way to describe it. Going into an advanced screening of the film earlier this week, I had my doubts that it would be anything outside of generic. But instead of tripe, I got one of the most unexpected surprises I have seen all year.

Cal (Steve Carell) and Emily (Julianne Moore) have hit a rough patch in their long-time marriage, and Emily inadvertently announces to an entire restaurant that she wants a divorce. Down and depressed, Cal starts drinking away his sorrows at a local bar, attempting to make sense of his predicament with anyone who will listen. Jacob (Ryan Gosling), a professional bachelor, takes notice and makes it his personal mission to help Cal get over his wife, and become a new man in the process.

But this is just the main plot thread of the movie. It also follows Jacob's relationship with the absolutely stunning Hannah (Emma Stone), throws in a bit of curveball with Emily being romanced by David (Kevin Bacon), and even has a bit of a focus on Cal's son Robbie (Jonah Bobo) pining over his older babysitter Jessica (Analeigh Tipton). It may sound a little packed with threads and too many characters, but Crazy, Stupid, Love. is able to navigate between each character and couple with ease. It reminded me a lot of Valentine's Day, and how its main goal was to depict how different love is for a sizable amount of couples and singletons. Except it failed miserably at it, and stood out more as an example of every rom-com stereotype you could imagine. Thankfully, Crazy, Stupid, Love. takes the higher road and breathes new life into a stale genre.

While the impeccable cast is more than enough reason why the film succeeds so well in being an atypical film in the genre, it is the crew behind-the-scenes that surprises even more. The film is written by Dan Fogelman, who is best known for a string of Disney films and the atrocious Fred Claus, and is directed by Glenn Ficarra and John Requa, who wrote and directed the sadly little seen I Love You Phillip Morris and wrote the now classic Bad Santa. These three would not be the first group on men I would turn to for a film like this, but their relative lack of expertise helps propel the film to the heights it reaches. It takes darkly hilarious turns in certain instances, plays other sequences totally unconventionally, play even more out with a foreboding sense of drama the trailer merely hints at, and trumps more than its share of genre stereotypes. Weaving between the plots lines, they make the film feel unique and different from others, all while giving it an aura of authenticity. While they stumble a bit in the final act with a series of sitcom-like shockers that border on ludicrous, they manage to pull off the rare feat of actually making the audience wonder if these characters will all end up together in the end, or if they will walk their separate ways; something that is truly uncommon for this genre.

Acting wise, the film delivers in spades. Carell gives one of his best performances to date as Cal, moving as swiftly as the script requires between depression and humiliation, and touching and hilarious. The film stretches his dramatic muscle more than most, and allows him to give a performance that does not rely on laughs. The expressions on his face are just devastating in some sequences, and the wonder in other scenes is ridiculously hilarious. It is a performance I hope to see him come back to again, and make even better. Gosling plays against type, and gives an absolutely hysterical performance. He shines brightly in every scene, nailing every line and mannerism, while making this scumbag of a lothario become someone to really care about. He exudes chemistry and helps make everyone else's performance better. Moore and Stone also give great performances, easily balancing the humour with the drama. They are not given nearly as much to do as the guys, but hold their own on- screen.

The supporting cast does even better. Bobo is phenomenal in his role, conveying an innocence and naivety that is more mature than I thought possible. He acts like more of an adult than some of the older cast does in many instances, and gives the performance a well-rounded other young actors would be incapable of. Tipton is not nearly as good, but plays the role of a confused teenager a little better than you would imagine. Bacon does great in a small turn as does Liza Lapira as Hannah's best friend. But it is Marisa Tomei who steals the show from everyone, playing one of Cal's conquests. She is dementedly unhinged and ridiculously over-the-top, but never falters. Her performance may be one-note, but it is easily the most memorable thing about the film.

If I hold anything against the film (other than the final act stumble and the oh-so convenient way one particular scene comes together), it is that it ended. I know I have harped on how unlike other typical romantic comedies Crazy, Stupid, Love. is, but there is really no other way I can rave about it. I easily could have spent more time with these characters, and pined to find out what happened to each of them after the final fade out. The incredibly unlikely pair of Ficarra and Requa has crafted a truly wonderful and hilarious film that is nothing like what you could have expected watching the trailer. It is bittersweet, and easily one of my favourite movies of the summer. And this is coming from someone who loathes almost every single romantic comedy ever conceived.

8.5/10.

Such a wonderful rom-com with great writing! Ryan Gosling is superb as the ladies man and I love how Steve Carell is great in the drama aspect. Crazy, Stupid, Love is so enjoyable throughout with amazing charm and soundtrack! Not like most divorce films which is a pleasant surprise; every scene has feel-good entertainment embed in it perfectly.

When it all comes together in an ensemble romantic comedy, it takes a great script, spot-on casting, inspired acting, timing, synergy, and brilliant direction. Crazy, Stupid Love has it all. Arguably, the best romantic-comedy of the new millennium era, CSL synchronized two directors and a screenwriter who had all previously been noted for their top success in animation films and television including the 'Cars' franchise, 'Tangled' and 'Angry Beavers' (in addition to non-animation film), along with the brilliant Casting Director Icon Cindy Marin who had casted 'Juno' a few years earlier.

The casting could not have been better, and with the inclusion of Kevin Bacon, connects the film (within 7-degrees of Bacon) to generations of great romantic comedies.

I can count on one hand the number of great romantic comedies in film since 2000 - they are rare, hard to pull off, and this is one of the very best. TV Series are a much better platform for comedy, as the comic moments can be spliced together without having the wrap a complete linear story around it in just two hours - TV is 30 minutes of gags; next episode.

Pulling-off a quality 2-hour story like this one, within the comedy genre (that is both sexy-sweet and funny at the same time;) requires effectively synchronizing a lot of moving parts.

Everyone involved in the production of CSL brought their A-Game, and it shows.

The key tandem in the film's success is Steve Carrell/Ryan Gosling - Without those two delivering the goods, the film would have failed.

They deliver big-time, making this Buddy-Film disguised as a Romantic-Comedy an all-time film arts success.

The Carrell/Gosling best-buddy relationship centers around a man in his 40's (Carrell) in the process of being separated from his middle-school sweetheart and first-and-only-love wife (Julianne Moore), reluctantly entering the modern singles dating world for the first time in his life.

He is completely unprepared and out of step with the times and the game, but runs into the Yoda or "Miyagi" master of ladies-men (Gosling) at a popular local singles bar, who decides to take him under his wing and mentor him in the ways of successfully meeting younger women after observing his wallowing in breakup pain and ineptitude in the singles game. The Pygmalion-like tutoring and transformation is truly brilliant fun to watch.

A complex intertwining connection of the entire cast starts to reveal itself piece by piece, and the hilarious apex of the film is one of the most memorable pay-off moments in comedy-film history.

The supporting cast orbits around the two new-best-friend buddies, and their acting excellence results in CSL rating as one of the all-time great ensemble comedies.

This was the first of three (as of 2021) successful movie pairings of Emma Stone and Ryan Gosling, each subsequent project propelling both into higher orbits of superstardom - the third pairing 'La La Land' resulted in multiple award nominations, including an Oscar win for Stone, and with Hollywoods penchant for staying with winning formulas, it is likely we shall see more of these two together in film.

CSL fits the new millennial era culture well, and perhaps years from now will seem dated to this period (filmed right before the dating App explosion that occurred from 2012-2015 that replaced and swiped-away bar meetups, it is already aging in that regard). This just means everyone "got it" during its production, and certainly transferred that "get" to the screen with notable comic skill.

On my IMDb list of Top 25 Best Comedy Buddy Films.

Needless to say, I "highly recommended" 'Crazy, Stupid Love', and give it the proverbial two thumbs up! 👍👍

It was roughly two-thirds of the way into Crazy, Stupid, Love when I realized how invested the audience in my theater had become. The key scene involved a mom cleaning her daughter's room, a seemingly mundane moment that produced gasps and cries of "Oh no!" even before the character makes a very revealing discovery. It's a scene that, much like the rest of Crazy, Stupid, Love, a heartwarming and, at times, painfully honest depiction of three couples at various stages in each of their relationships, unfolds not with predictability so much as inevitability. Unlike your average, generic romantic-comedy, this movie focuses less on the end, on who will end up with whom, than on the special and often surprising connections that are made along the way. What's more, it achieves the remarkable and all-too-rare feat of actually moving the audience to care about the central characters, to cheer when they come out on top and sympathize when they don't.

Using a witty, compassionate and ever-so-slightly subversive script from Dan Fogelman, directors Glenn Ficarra and John Requa, who are best known for writing the pitch-black comedy/satire Bad Santa and only have one other directorial effort under their belts (last year's I Love You, Philip Morris), guide the production along with subtle ease. They strike an ideal balance between humor and drama, allowing the overall tone to develop organically. Laughs come mostly in chuckles at the cleverness of a line or its delivery and are never awkwardly forced in to lighten up a scene, while the emotions feel genuine without becoming manipulative. Most of all, their restrained approach allows the actors to breathe and to fully embody the characters they've been given.

Speaking of which, has there ever been a more likable group of people assembled for a film, much less a romantic comedy? The cast gels remarkably well, and at no point is anyone singled out as a villain; even when a character threatens to become unlikable, the actor portrays him or her with such keen understanding that it ultimately becomes hard, if not impossible, to not root for each and every one of them. Whenever the film tiptoes the line toward schmaltzy, they pull it back, making every line and emotion feel utterly real. As the unquestionable lead of the film, Steve Carell displays a tenderness and dramatic depth he'd only hinted at in previous works like the unexpectedly moving The 40-Year-Old Virgin and occasional episodes of The Office, while Ryan Gosling, all immaculate grooming, sly grins and twinkling eyes, is perfectly cast as his foil, Jacob, a suave ladies' man who's really using all that money and swagger to disguise the emptiness he feels inside. Julianne Moore and Emma Stone are both lovely as Emily and Hannah, respectively, radiating a down-to-earth presence and relatability that many other Hollywood actresses seem to lack. Also worth noting are Analeigh Tipton and Jonah Bobo, who form Crazy, Stupid, Love's youngest romantic pairing and have been all but ignored by the movie's publicity campaigns despite their obvious talents.

What truly sets Crazy, Stupid, Love apart from other modern-day romantic comedies, aside from the perceptive writing and direction and a dream cast, is that it strives to be meaningful, rather than just mindless, predictable fluff. Though the movie employs its share of clichés (precocious kid, guy falls for the one girl who initially rejected his advances, etc.) , it's often done with a knowing wink, most obviously when, after an altercation with Emily, his ex, and rain begins to pour down on him, Carell's despondent Cal mutters, "What a cliché." It shows that love is messy, irrational, sweet and universal, filled with regrets and tears as well as hope and joy. It celebrates movies like Say Anything… or Jerry Maguire where sentimental wasn't a bad word and love meant more than sex, diamond earrings and expensive, candlelit dinners, where those small, precious moments of quiet intimacy – a shared look, a simple but honest conversation, a laugh, a smile, buying a mint chocolate chip ice cream cone, a spontaneous phone call – speak as loudly as the grandest, most dramatic, craziest gestures.

In short, Crazy, Stupid, Love does what the best romantic comedies do: it gives us a glimpse into the raw, human moments that collectively build to bring two people together – or, at times, tear them apart; we fall in love with them just as they fall in – or, out of – love with each other. It's the perfect date movie, and so much more. To all the other ones, the mediocre, cornball, lazy, offensive rom-coms and chick-flicks out there, Ryan Gosling has a message for you: be better than The Gap. Be better than The Gap.