‘Splitsville’ Review: Dakota Johnson and Adria Arjona Play the Field in an Exhausting Knockabout Romcom

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In my opinion, they assure Carey, my friend, that parting ways with Ashley after merely a year of marriage should be straightforward due to them having no children or significant assets. However, he finds it incredibly challenging, just like the movie “Splitsville” does, which offers a mix of amusement and annoyance as it portrays two couples on an unpredictable path towards one another – or perhaps away from others. Interestingly, this film is the second project by American writer-director Michael Angelo Covino, who reunites with his real-life buddy Kyle Marvin, co-star and co-writer of his remarkable debut “The Climb” in 2019. In this production, their bromance takes a backseat to focus on the complexities of their characters’ marital issues, resulting in a less innovative and less insightful narrative compared to its predecessor.

In its premiere at the Cannes Film Festival, “Splitsville,” produced by Neon, shifts from the Un Certain Regard section to the non-competitive Premiere section. This move signals a transition into broader, more commercially-oriented territory for director Covino. The film features heightened sentimentality and slapstick elements, with Dakota Johnson, a popular A-list actress, portraying the coveted love interest of the two male characters. While she receives top billing, it is Marvin’s character, Joe Schmo, who carries the main narrative as he finds himself in relationships far beyond his skill level throughout the story. Despite being generally relatable and sympathetic, none of the main characters are particularly lovable. Covino and Marvin’s script relies on familiar comic archetypes rather than fully-fleshed out human characters.

It seems that the interactions and relationships among the characters in this production appear to be more script-driven rather than stemming from a genuine past or chemistry. This issue is subtly pointed out through one of the film’s humorous lines, where the arrogant property developer Paul (Covino) remarks to Carey after Ashley breaks up with him: “She’s a life coach – what did you expect?” From the very first scene, a conversation about a breakup happening around a literal car crash, it’s hard to fathom what common ground ever attracted shy gym teacher Carey and the glamorous life coach Ashley – but then again, the abrasive, self-centered Paul and soft-spoken ceramicist Julie (Johnson) also seem an unlikely couple, despite his considerable wealth and Architectural Digest-worthy beach house.

It’s challenging to imagine a convincing history for Paul and Carey, who are said to be lifelong friends: While “The Climb” delicately explored the tensions and shared aspects between various masculine ideologies, “Splitsville” combines alpha and beta characters in a way that results in pure comedic chaos. A more believable aspect, however, is a key disclosure that underscores the contrast between how much men and women discuss their personal lives: While recovering emotionally at a beach house with Paul and Julie, Carey is taken aback to learn that they have an open marriage. It seems that Paul frequently engages in extramarital affairs during his business trips to the city. So when, on one of those occasions, Carey and Julie find themselves becoming intimate, Carey doesn’t think twice about sharing this with his friend afterwards.

Let’s imagine a massive fight erupting between Paul and Julie, causing extensive damage to their home and possessions. This escalation pushes the concept of a break-up from a mere possibility to an undeniable reality, though it stops short of becoming a cartoonish farce that might make the humor more impactful. From this point on, none of the characters in this story act as one would expect a rational or even relatable human to behave under these circumstances. As Paul gets involved in shady financial dealings and ultimately serves jail time, he and Julie decide to divorce. Meanwhile, Carey becomes obsessive in her attempts to maintain a connection with Ashley, all while harboring lingering feelings for Julie.

This comedy series offers some witty humor amidst a series of poor choices and inappropriate actions. A recurring joke involves Carey persistently befriending Ashley’s string of ex-lovers, such as Charlie Gillespie’s character who adds comic relief with his dim-witted charm. The dialogue between Covino and Marvin often crackles with mature wit and ruthlessness, as when Julie directly tells Paul why she’s sleeping with his friend: “He’s kind, trustworthy, and has a bigger manhood than you.” (The audience gets several opportunities to confirm this claim, although the film is rather reserved about explicit scenes.)

In other parts, some complex comic scenes appear forced and excessive, piling on additional characters and subplots to compensate for a scarcity in narrative drive. Unlike “The Climb,” this production, while polished and less uniquely styled, attempts a similar visual feat by using intricate long takes that wind through chaotic domestic environments. However, these spaces seem cluttered with activity rather than lived-in.

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In certain sections, numerous detailed comic sequences come across as overdone, adding extra characters and complexities to compensate for a lack of compelling narrative flow. Unlike “The Climb,” this production, though sleeker in appearance and less individually defined, attempts the same visual trick by using long, intricate takes that navigate messy domestic settings. Yet, these areas appear crowded with action rather than lived-in or comfortable.

The stars deliver performances that suit their roles well enough: Johnson’s laid-back acting and Covino’s anxious intensity both bring individual enjoyment, as seen in their contrasting styles. However, much like the characters themselves, the actors’ differing energies don’t quite ignite each other effectively. The tug-of-war dynamics that keep these frayed lovers together and apart eventually transition from manic to laborious, largely because viewers may not be as invested in their reconciliation as the movie is. Unlike “The Philadelphia Story,” which elicits a contented sigh at the conclusion of its romantic dance, “Splitsville” leaves us with the feeling that all these characters urgently need to find new companionship.

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2025-05-19 22:17