The children’s talented performers have little to do.
Steve Martin’s Adam is underwritten and cannot compete with Baldwin’s charisma.
The adult children appear unrealistically undamaged and too invested in their divorced parents reuniting; a contrary reading that they oppose reunion is argued down.
The children’s group-bed scene, excessive graduation celebration, local residence and expensive bungalow are implausible; their oddness is also defended as funny and peripheral to the adult story.
Roast chicken is overrated, especially the ordinary home-cooked version; great restaurant or Ina Garten versions are allowed exceptions.
More genres should feature leads over fifty because seasoned actors and lived-in characters are compelling.
Santa Barbara’s relentlessly sunny screen image is challenged by coastal fog; others defend its beauty, retirement appeal and surrounding destinations.
Keanu Reeves is better in Something’s Gotta Give than The Matrix; the closing discussion again supports funding Meyers while questioning the reported $180 million budget.
Architect, pediatrician, journalist, chef and a grounded rich heir are attractive romantic-comedy jobs; architecture combines creativity and practicality. — Craig Horlbeck
Advertising evokes Don Draper’s womanizing; lawyer, businessman and widowed stay-at-home dad are considered, but unemployment is a barrier.
Chef, vet, urban planner and sports doctor are considered; plastic surgeon is too vain. Architect remains favored, with oil billionaire dismissed.
Realtor and marine biologist are added; marine research risks romantic unavailability.
Female sportswriter examples lead to sideline reporter as the best ESPN rom-com job; Trainwreck’s sports-doctor role enabled comic athlete interactions.
Streep is rejected here; her mid-eighties work and Devil Wears Prada through Iron Lady represent possible peaks, with no real career fallow period.
Baldwin possibly qualifies alongside 30 Rock and SNL.
Steve Martin’s late-seventies success is preferred; his-and-her sinks receive a positive discussion without a firm peak judgment.
Meyers’s peak shifts from The Holiday to Something’s Gotta Give based on film quality, nominations and box-office discussion.
Divorced-couple romances have earlier screwball peaks, including His Girl Friday and The Philadelphia Story.
Krasinski’s A Quiet Place and marriage to Emily Blunt displace this performance as his peak.
The Holiday’s British cottage is preferred for Meyers houses; this kitchen receives a best-kitchen vote but Something’s Gotta Give is defended for space, storage and island layout.
Lake Bell, Caitlin FitzGerald and Zoe Kazan receive no Apex endorsement.