Star and co-writer Jason Segel showcases his multi-talented theatrical abilities yet again in “The Five-Year Engagement,” a very modern and appropriate take on the romantic comedy genre.
Segel re-teamed with frequent collaborator writer/director Nicholas Stoller for this picture. Stoller recently co-wrote “The Muppets” reboot with Segel and was at the helm for “Forgetting Sarah Marshall,” also written by the duo. While “Five-Year” is not as hysterically funny as “Sarah Marshall” or as charming as “The Muppets,” it does offer a strong balance between the two films and serves as a perfect rom-com.
“Five-Year” is yet another comedy produced by the powerhouse that is Judd Apatow (“Knocked Up,” “Superbad”). What comedic production doesn’t have Apatow’s name attached to it these days? Over the past six years, Apatow has produced 14 films along with two television programs. Segel is an Apatow protégé, as the actor had his early breakthrough thanks to Apatow’s television series “Freaks and Geeks” and “Undeclared.” Apatow’s signature style is felt throughout the film, as awkward moments and pop culture references are a constant presence.
Segel is beginning to create his own brand, however, as “Five-Year” felt more like a Jason Segel picture than one by Judd Apatow. Segel creates scenarios and characters that are easily relatable to the audience, but is able to add a level of absurdity that makes his films wildly entertaining. As with most successful pictures, “The Five-Year Engagement” works so well because of these strong plot-points and characters.
The film opens with Tom (Segel) proposing to his year-long girlfriend Violet (Emily Blunt) in San Francisco. As the title suggests, the couple face several obstacles after this point. Violet’s sister Suzie (Alison Brie) has a bun in the oven after a one-night stand with Tom’s best friend Alex (Chris Pratt). The two win the unofficial race to being the first to marry. Tom and Violet decide to hold off on their wedding so there’s time between the two ceremonies. Further complications arise when Violet receives an apprenticeship at the University of Michigan, much to Tom’s dismay. Tom is at a loss after he is forced to leave San Fran and the promotion that was to come with it.
This story resonates so well with the audience because it is the perfect reflection on the current state of marriage and the growing presence of women in the work place. Tom and Violet are doing everything the right way. Tom proposes the old fashion way because he is genuinely in love with Violet. Alex, on the other hand, proposes to Suzie because of their mistake and Suzie’s subsequent pregnancy. Yet it is these two, the irresponsible ones, who are rewarded with both marriage and children. They didn’t plan on what happened, but are happy with the results.
Tom is forced to make sacrifices in order to be with Violet. He struggles with being the one in the relationship with the expendable profession – he’s a chef – and is lost shortly after the move to Michigan. Yet Violet is by no means the antagonist of the tale, as she has earned everything and is sympathetic towards Tom’s needs. These are real issues that couples now commonly face, and provide an excellent form of conflict for today’s audiences.
Thankfully, there is plenty of humor to offset these heavier tropes. Segel’s role is quite similar to characters he’s portrayed in the past, but luckily it doesn’t feel tired as of yet. Tom is a lovable goofball who is painfully and hilariously uncomfortable in numerous situations throughout the film. Emily Blunt proves she is a comedic talent as well, and the perfect match for Segel. The two have undeniable chemistry, and both showed their range with the ability to be funny and heartbreaking simultaneously.
Most of the comedy, however, comes from the incredibly diverse supporting characters, Pratt and Brie being the standouts. The two have plenty of comedic experience, as they each star in their own NBC comedy, “Parks and Recreation” and “Community,” respectively. The two were scene stealers, as they were provided ridiculous one-liners occurring in peculiar situations. Other fun roles include Chris Parnell as a sweater-knitting stay at home dad and Brian Posehn as Tom’s alcoholic and bizarre boss in Michigan.
The film is not without its flaws, however. The title should serve as a warning to the film’s length, which is noticeably long. The story loses steam in the middle of the third act, as the ending becomes more and more inevitable. The dialogue in these scenes is repetitive and unnecessary. Additionally, supporting characters abruptly exit the story and reappear when they aren’t needed. It was almost as if these characters were forgotten, and then rushed back in for a final appearance.
These minor misgivings aside, “The Five-Year Engagement” was an enjoyable film with countless memorable moments. Segel and Stoller continue to include a sufficient amount of originality in their stories despite the familiarity of the subject matter.
Kevin Romani can be reached at [email protected]. Follow Kevin on Twitter @KevinRomani.
