TERRY GROSS, HOST:
The romantic comedy "The Five-Year Engagement" reunites writer-director Nicholas Stoller and writer and actor Jason Segel, who also collaborated on "Forgetting Marshall" - "Forgetting Sarah Marshall." Both films were made by Judd Apatow's production company. Stoller and Segel also co-wrote "The Muppets Movie." In "The Five-Year Engagement" Segel and Emily Blunt play a couple whose relationship is tested by a major relocation. Film critic David Edelstein has this review.
DAVID EDELSTEIN, BYLINE: There are many dramas and comedies in which career trajectories take couples to different corners of the country, complicating or ending romantic relationships. There will be many more until someone invents a teleportation machine. What's different about each work is how the problem is interpreted.
In the new mating comedy from the Judd Apatow factory, "The Five-Year Engagement" the interpretation is reactionary, told largely from the perspective of a man victimized by feminism. Up-and-coming chef Tom, played by Jason Segel, and British social psychology grad student Violet, played by Emily Blunt, become engaged as fireworks erupt over San Francisco Bay.
The coming nuptials are celebrated at a country inn with the usual nutty family toasts. Violet searches for a wedding venue; and then, suddenly, comes news that she's been accepted into a prestigious program at the University of Michigan. Drinking heavily to ease her jitters, she tells Tom her mother gave up a career to follow her father - who later took up with a 20-something woman.
Violet doesn't want that to happen to her. Tom, the mensch-iest top chef ever, swallows hard and says let's both go to Michigan. What follows is the long decline in his manhood in Middle America, which is not portrayed as a bastion of culture. After trudging with his resume through the cold, this onetime culinary superstar is laughed at by proprietors of Ann Arbor restaurants, who can't believe he left San Francisco.
He has to take a job at Zingerman's Deli making sandwiches. After a faculty party where he mostly talks to other spouses, Violet playfully proposes they leap onto a mound of snow.
(SOUNDBITE OF MOVIE, "THE FIVE-YEAR ENGAGEMENT")
EMILY BLUNT: (As Violet Barnes) That snow looks nice.
JASON SEGEL: (As Tom Solomon) It's fine. Yeah. It's fine.
BLUNT: (As Violet Barnes) Do you want to roll around with me in it and get weird?
SEGEL: (As Tom Solomon) You mean like...
BLUNT: (As Violet Barnes) Yeah. No one's around. Let's get into Michigan life.
SEGEL: (As Tom Solomon) OK. It sounds great. It does. There is one issue.
BLUNT: (As Violet Barnes) What?
SEGEL: (As Tom Solomon) It's very cold out.
BLUNT: (As Violet Barnes) So what?
SEGEL: (As Tom Solomon) It's going to look super small for a second.
BLUNT: (As Violet Barnes) I've seen it - every single way.
SEGEL: (As Tom Solomon) Not this small.
BLUNT: (As Violet Barnes) Whoo!
(As Violet Barnes) Come on. It's so nice. Do it.
SEGEL: (As Tom Solomon) Yeah! Oh! Ow!
BLUNT: (As Violet Barnes) What? What?
SEGEL: (As Tom Solomon) My hip. My hip.
BLUNT: (As Violet Barnes) Oh, my god.
SEGEL: (As Tom Solomon) I landed on something.
BLUNT: (As Violet Barnes) Oh, it's a fire hydrant.
SEGEL: (As Tom Solomon) What is a fire hydrant doing there?
BLUNT: (As Violet Barnes) Sorry. Poor old grandpa.
SEGEL: (As Tom Solomon) Gah.
BLUNT: (As Violet Barnes) Oh.
SEGEL: (As Tom Solomon) Did I just say my hip, my hip, my hip?
BLUNT: (As Violet Barnes) Yes, you did. Sorry, babe.
EDELSTEIN: You can't get much more direct: Moving to the Midwest with his fiance has reduced Tom in all senses. There's something else important in that scene. Violet's trying. She's not a stereotypical emasculating female - it's the situation that's the problem.
She wants the Michigan position, but just as important, she wants to do what her mother didn't. "The Five-Year Engagement" has another couple for contrast - Alison Brie, as Violet's excitable sister, Suzie, and Chris Pratt, as Tom's juvenile-minded San Francisco assistant, Alex.
Although Suzie initially finds Alex repulsive, they drunkenly sleep together at Tom and Violet's engagement party, she gets knocked up, and like the protagonists of Apatow's "Knocked Up" end up in a happy union. She didn't sweat the small stuff, like a career or the suitability of her mate. You might be thinking, but is the movie funny?
Much of it is. At two-and-a-quarter hours, it's too long, but that's mainly because director and co-screenwriter Nicholas Stoller is indulgent. He gives his supporting actors lots of room to show off their tricky rhythms. Alison Brie, who's Trudy Campbell on "Mad Men," has a high adorable-ditz quotient, and Chris Pratt of "Parks and Recreation" enough sweetness to compensate for his bad-taste lines.
A low-key Rhys Ifans is amazingly charming as Violet's lady-killing Welsh professor, who presides over her silly experiments and tells her, with regard to her fiance, that, quote, "It's OK to be selfish." We see where that's going. To prove her rom-com bonafides, Blunt chatters dizzily and pulls faces, and she has a wonderful face to pull.
Jason Segel has said that studio execs ordered him to lose weight so the pairing wouldn't seem completely implausible. His still-big body moves slowly, giving us the sense that it can't keep up with his emotions. He's unusually likable for a man of non-action.
"The Five-Year Engagement" is a crowd-pleaser, but for me it still left a bitter taste. In spite of the naughty words, Stoller and co-writer Segel and producer Apatow have engineered a scenario so simplistic and retro that you wonder about their larger agenda. Do they want women to be more like the main character's sister, for whom getting knocked up in a drunken one-night stand is a blessing in disguise?
GROSS: David Edelstein is film critic for New York Magazine. You can see clips from "The Five-Year Engagement" on our website freshair.npr.org where you can also download Podcasts of our show. And you can follow us on Twitter @nprfreshair and on Tumblr at nprfreshair.tumblr.com.
NPR transcripts are created on a rush deadline by a contractor for NPR, and accuracy and availability may vary. This text may not be in its final form and may be updated or revised in the future. Please be aware that the authoritative record of NPR's programming is the audio.