It’s like they always say, “If you can’t make it in bed, you can’t make it in life.”
Jason Patric, Ben Stiller, and Aaron Eckhart play a trio of pals who regularly get together and talk about sex and/or women, but they all have their own personal lives that somehow find their ways of mashing together. Stiller is having problems with his gal-pal (Catherine Keener), who just so happens to be finding her own lust with a fellow lady (Natassja Kinski); Eckhart is also having similar problems with his woman (Amy Brenneman), minus the whole lesbian-angle; and Patric is just enjoying his life as a total, misogynistic stud that gets what he wants, how he wants it, and doesn’t give a flyin’ hoot about what anybody thinks.
Basically, he’s portraying me.
No matter what Neil LaBute may be talking about and whether or not you agree with what he says or not, there is still one element about each of his films that cannot be argued: They are incredibly well-written. Such as is the case here where not only do we get a plainer look and view inside the world of sexual-politics, but an even plainer one at the world of relationships, whether they be same-sex or opposite sex. Basically, what it seems like LaBute is trying to say here, is that all people, regardless of what different walks of life they may have come from, still can never, ever be alone and still walk through the motions of life, without ever really taking anything in or actually feeling genuine. Why? Well, because people, as a whole, are weak and hate it when they’re alone.
Maybe that’s me reading into the material, or maybe that’s exactly what LaBute’s actually going for, but either way, it’s all very bleak and depressing. Although, LaBute knows this and gives us something to hold onto with rich characters that may not be the nicest of people out on-display, but are still people that you feel like you could meet a book-store (whichever ones still exist), go out for coffee, chit-chat for a bit about life, love, and all of the finer things, end the conversation, exchange numbers, and never have contact with again. The reason for that being is just because they just seem too terrible or inhumane to surround yourself with.
Yet, they are all still watchable and easy to connect with, even if they don’t always seem like the ones with the biggest heart.
Take, for instance, Ben Stiller’s black hearted-role here as Jerry, may make it seem as if the guy is trying to stretch out his acting muscles and see what he can do when there’s more depth to his act than just goofy voices and faces, but it’s more or less the same act around, just this time: More cursing and screwing. Stiller does the usual awkward, nerdy-shtick and as much as it may work for his character, it’s still terribly annoying to have to watch, let alone listen to and it makes you feel utterly no sympathy for the guy whatsoever. Then again, that’s probably the point to begin with, so if anything, it’s more of a strength.
Aaron Eckhart, on the other hand, is doing something completely different from what we saw with him from In the Company of Men. Not only because he put on so much weight to really fit the role of the insecure, middle-aged man, but because he was so sympathetic and likable, whereas in Men, he was a total and complete dick you didn’t give a single crap about. Eckhart’s character is such a bone-headed doofuss, that you really do feel terrible for him and just want to give him a big old hug, just in hopes that he will at least put a smile on and be able to sustain an erection for his lady. Shows that the guy has some range as an actor, while also giving us a look at the nicest, most-endearing character of them all.
And trust me, that’s saying a lot.
The best out of the trio of dudes is Jason Patric, as the misogynistic, nasty lady-slayer (not literally, mind you) that seems to get along with virtually no one, yet, always finds people to be around him and even better, still finds gals in his bed. Patric is so amazing here because he always seems like the guy who really knows what he’s talking about and doesn’t care about whether or not you believe him on anything he says. He’s just doing him, and it’s great to not only see that in a character actor of high-prestige like Patric, but to also see that in a character in general. There are a couple of scenes where he really releases all hell on these people around him and not only does it make you feel as if he’s the type of guy you would never want to be stuck inside of an elevator with, but also the type of guy you don’t want in your life, mostly because he’ll just call you out on all of your dirty laundry. Patric is by-far the stand-out of this whole movie and completely owns every scene he has.
However, the guys seem to be the ones who get the most attention out of LaBute, as the gals don’t really seem to get all that much love, despite them all being pretty damn good with what they do. Catherine Keener’s character seems terribly bitchy and blunt, but also seems a bit like the voice of reason that you need in a movie like this, where not only everybody is at each other’s jugulars, but also where everybody seems to be talking a bit too much for sore ears. Playing her lesbo-lover is Natassja Kinski and is okay with what she’s given, but still seems one-dimensional and more or less just given a role to fulfill the non-stop quirk of there being a scene where almost every character goes up to a piece of art, asks the same questions, and gives their critique on it. Like Kinski, Amy Brenneman does fine with her role, but she’s almost too moody to be taken in as anyone, let alone an actual, three-dimensional character in a movie like this.
So, yeah. Here, it seems like maybe LaBute drops the ball a bit on presenting fully-layered women characters, as opposed to the men.
But don’t worry, there’s plenty of room for improvement.
Consensus: Like most of LaBute’s flicks, Your Friends & Neighbors features a solid cast working with some mean, nasty and grueling stuff, even if not all of it feels as powerful as his debut.
8.5 / 10
Photo’s Credit to: Thecia.Com.Au