“Technology’s the devil”, in case you haven’t heard that from your grand-parents enough already.
The world in which we live in is changing everyday and technology’s a big reason for that. However, the big question remains: Is it good that we have technology around us, affecting our lives so much? Or, simply put, is it bad and making us disconnect from those around us? Well, the answers don’t come easily, especially for a handful of people living in a Texas suburb. Take for instance, there’s the married-couple (Adam Sandler and Rosemarie DeWitt) who hasn’t felt that love or passion for one another in quite some time; the photographer mother (Judy Greer) who so clearly loves her daughter and the passion she has for acting, but can’t help but lead her the wrong way; another mother (Jennifer Garner) who may be a bit too over-protective of her daughter and how she uses her forms of technology; a high school sophomore (Ansel Elgort) that quits the football team to focus more on his personal life, which leads him to falling for an outcast (Kaitlyn Dever); and lastly, a young teenage girl (Elena Kampouris) who is curious about sex for the first time in her life and will do anything to experience it, even if that means risking her own life. Oh yeah, and it’s all narrated by Emma Thompson, for some odd reason.
There hardly ever comes a time when I find myself following the rest of the status quo and agreeing with just about everything others have said. That’s not how I roll with movies, music, TV, video-games, and just life in general. I have opinions that I’ll make up for myself and stick to them until I wake up one day and think differently.
Now, with that being said, when I found out that everybody has been practically trashing on this movie here, I was surprised. Not because it seemed like it was a return-to-form for a favorite of mine, Jason Reitman, but because it featured an ensemble cast so good, that it was almost too hard for me to believe that any of them would agree to do something that’d be considered “utter shite” (well, except for Adam Sandler, but hey, he’s trying to get better!). But such is the case here with Men, Women & Children and rather than going into it and expecting it to hate with all my might because of what plenty others have been saying, I decided to stick to my guns, go in with a clear mind, and see how me, myself, and I felt walking out.
And well, wouldn’t ya know it? I quite liked it. In fact, I came close to loving it on a few occasions. And then I didn’t. But the moral behind this story here, folks, is always make sure to not get bogged down by what others may, or may not, be saying. It only gets you further and further away from what matters most: Your own feelings regarding anything.
But like I was saying, there’s definitely something fishy about this movie. For instance, I find it rather strange that Reitman would go for a story that, yes, could be considered timely because of how much it uses technology as a moral stand-point for its story, but in all honesty, actually feels somewhat dated. These types of movies that try to warn us about the dangers of technology seem like they were running wild all over Lifetime or Oxygen way back when. That’s not to say that these types of stories don’t matter nowadays, because no matter what, technology will always be relevant in each and everyone of our lives, but I could have definitely done without a another “technology is evil” movie that just disregards its own message when it’s telling us, the audience, to actually engage in conversations on social-media networks to continue the conversation about the movie we just saw.
A tad ironic, but hey, whatever. The world’s not perfect, and the same thing goes for this movie. Because see, since this is an ensemble-piece, that means one thing: Not every story will be interesting. Though I’d like to hope for that in every movie I see in which different stories take place over the course of one film, the fact of the matter is that it usually doesn’t happen. And such is the case here, because out of the, well, I don’t know, say nine or so subplots, at least four-and-a-half of them are actually somewhat compelling. The others are sort of just there to take up space and allow us to see actors do, well, just that. Which isn’t such a bad thing, especially when you have a cast this good, but every so often, the movie makes you wonder what could have happened, had there been a lot more attention given to the development of these characters and their stories, much rather than the whole obvious message surrounding them and hitting us in the face.
For instance, try the story of Adam Sandler and Rosemarie DeWitt’s subplot; in movie terms, their characters are the quintessential aging married-couple: Bored, unfulfilled and always horny, yet somehow, not for one another. There are brief instances in which this story could take a couple of really dark, shocking turns, but since it has to rely on the story’s gimmick of making it all about technology, the movie then jumps into the whole “dating services” aspect of the internet that so many movies have touched on, and also more effectively. Now, that’s not to say that neither Sandler or DeWitt put in bad performances (Sandler does pretty well at playing subtle here, although I was a bit upset by there being hardly any shopping-aisle dances), but you can tell that, had they been given much more to work with, they could have come close to stealing this movie away from the rest of the group and have us actually twisting our heads and thinking.
Well, more to work with, and probably if there hadn’t been any technology used in the first place.
Cause honestly, the aspect of technology placing itself into these stories doesn’t always work and, quite frankly, doesn’t feel wholly necessary. Now, I get that this is an adaptation of a novel that deals with the same problems and what have you, so I understand why Reitman didn’t want to totally take out the aspect of the idea that made it so “unique” in the first place, but really, at the end of the day, it’s just a cautionary tale of how most of us don’t talk to one another and, occasionally, do bad things. Does that mean that technology is always involved with these problems in life? Hell to the no! So, to make every person’s problem in this movie in some way or another, have something to do with technology and its usage, just felt pointless and really took away from the emotional impact that so many of these stories had initially promised.
That’s not to say that these stories don’t deserve to be told, but they don’t deserve to be done so in such an off-putting, slightly over-bearing way either, in which technology always has to rear its ugly head in, somehow, or someway.
And it should be noted that Sandler and DeWitt’s story aren’t just the only ones that get, pardon my French, get the shit end of the stick; a few others show plenty of promise early on, only to have all of that go the way of the Dodo about half-way through. Elena Kampouris’ subplot about a teenage girl with image and sexual issues is alarming, but gets a bit insane by the end that it starts to feel like Reitman’s driving right back into the melodrama he loved so much with Labor Day. The same could sort of be said for a subplot involving a young teenage kid who literally can’t get an erection or perform the act of sex, if it isn’t at all like how he views it as in the various pornos out there on the web. Once again, it’s another honest, true-to-life story, but just feels corny by the end, especially when we see how crazy it pans out to be. And the Jennifer Garner subplot concerning the over-protective mother was just stupid from the very beginning, and only made worse by the fact that Garner’s nerdy-mom shtick gets real old, real quick.
Though the stories that do hit, actually hit pretty hard, if not for the reasons that Reitman had probably intended. Probably the best, most interesting, most compelling, and most lovely subplot of this jumbled-up movie is the one between Ansel Elgort’s ex-football player and Kaitlyn Dever’s social outcast who both, through pure chance, just end up falling for one another. Not only is this the one true story that’s the closest to my heart (high school romance hardly ever disappoints this sentimental soul), but it’s the one story that feels like it’s the closest to Reitman’s heart, too. Both Elgort and Dever’s characters, with as few scenes we get with them together, feel like they would be attracted to each other and not just for the sole reason of having sex, getting it out of the way, and moving on. They’re both lonely, sad, and tormented young souls that need somebody, or someone to talk to, regardless of how it’s done. It also helps that Elgort and Dever have great chemistry and feel like fully fleshed-out teenagers in a film that, honestly, didn’t seem too concerned about in the first place (Elgort is especially amazing and wins me back from his over-the-top nature in the Fault of Our Stars).
But even then, this story seems to get a bit wacky by the end when it relies too much on the idea its presented itself with and takes a bit of steam away from the real heart of the best story it had to offer.
But since I’m going on so much about what Reitman does wrong here, I do have to say that I’m happy to see him at least slightly back in his usual-form. Granted, this isn’t a typical comedy like we’re so used to seeing him do like before, but it’s at least a minor step in the right direction to where he’ll hopefully be able to blend comedy and drama so well, that you have a hard time being able to discern one from the other. That’s the old Jason Reitman we all loved and awaited to see what he had up his sleeve next and it’s the Jason Reitman we all want back, in full-fledged form.
Consensus: At times, Men, Women & Children can feel like a typical, over-exaggerated after school special about the horrors of technology, but thanks to a solid cast and a few interesting subplots, it is able to get through its various plot-hoops and holes.
7 / 10 = Rental!!