DEFINITELY MAYBE: Post-Release

Not bad. I think it could have been better with a stronger lead (though Reynolds wasn't bad per se).

Wonder how many people will think this is an Oasis documentary?

I wish I could take the comma out of this film's title and move it over to Welcome Home Roscoe Jenkins, which needs one.

The trailer for this made me wish the makers had titled it Cry, Dammit! to properly advertise the amount of emotional pandering the marketing has been playing to.

Definitely liked it (ugh), but Isla Fisher owns the movie so much it's not even funny. Problem is it's way overlong and though the Mistery Mom secret is well kept, you end up guessing in advance who Will is gonna end up with and stop caring about anything else.

But anyway, a nice, solid date movie, with great acting all around -too bad this won't make Ryan Reynolds a star either, but... holy shit, Kevin Kline!- and a few interesting nostalgia bits that make for good chuckles (loved the bit with the super-urgent e-mail and the 56 Kb Internet connection).

Late to the party, but caught this last night. Quite enjoyed it. I can't tell if Reynolds doesn't work because he's more comedy than romance, or if it's because the three actresses dominate the shit out of him.

I will say that Reynold's character is a lucky son of a bitch: a blonde, brunette and a red head! And they're all THAT hot?! Damn you Hollywood for giving me this warped sense of things.

Not a great movie, but not terrible either. Simply solid. I didn't tear up, but if I did, I would not have felt manipulated into doing so.

And yeah, I want to see an entire movie of Kevin Kline boozing and railing about politics. That'd be fucking dynamite.

Other than the fact that I thought Reynolds did a fine job, I pretty much agree with what everyone is saying here. It's a serviceable film (what the hell kind of structure is it, though? 4.5 acts?) that's elevated by a pretty great cast. Color me stunned that Isla Fisher ended up being more adorable than Rachel Weisz.

Watched this last night for the first time in years. It's a nice refresher on how good Ryan Reynolds can be after the last year of trash like Green Lantern and Safe House. He carries the movie as a relatable but flawed man that starts off idealistic but gets dragged down by his white-people-with-problems.

 

Don't worry, I'm perfectly aware that the plot posits that his character William Hayes is eventually beat down by amazing relationships with beautiful, intelligent women and incredible, important opportunities in the political and advertising world. What warrants respect is how the movie takes the time and grace to let this plot unravel naturally. His relationships never seem to suffer from real problems, exactly, as it's never even explained why he and "Emily" are getting divorced. With "Summer" it's youthful ambition and self-afflicted stubbornness, and with April it's denial and lack of communication. 

 

Again, kudos must be given to Reynolds who manages to have great chemistry with all his leading ladies and daughter Maya (Abigail Breslin). The stuff with the daughter suffers from overt cuteness at times, being a little too twee (I think that's the term now) with her wisdom beyond years, but the banter is fast and fun and reminiscent of old Hollywood. I also appreciate how each relationship is presented as taking place over years, especially with Summer as their day to day routine is shown with things real couples do. It's unfortunate that Summer/Natasha is forgotten about in the denouement, as the last time she's shown she appears incredibly regretful and depressed (her kid never meets or plays with Maya? Odd). 

 

The politics are a nice touch, and I like how multiple sides are shown (Hayes, April, and Kevin Kline's amazing writer character all have takes on Clinton) without getting heavy handed. The gap with Maya growing up really hurts the film, as the aforementioned absence of problems leaves Emily/Sarah as an after thought and Summer/Natasha, the most lived-in and authentic of all the relationships, is forgotten about. Isla Fisher, incredibly vibrant and beautiful, borders on manic pixie dream girl, especially with the daddy issues, and it hurts the plot that Will doesn't give her Jane Eyre for TEN YEARS. I couldn't forgive him for that.

 

Still, it is a pretty nice save there at the end. I liked how when he tells her he got divorced, she says "Yeah, I heard." Even though they haven't seen each other in years it's easy to imagine they have common acquaintances. Little touches like that give the movie a fleshed out, active feel.

 

I don't know, it's a rom-com that clicks with me.