Your Place or Mine features Reese Witherspoon and Ashton Kutcher as lifelong pals who eventually fall in love following a home exchange across the country. This sickly-sweet narrative is always predictable right from the start. That fulfills typical romcom expectations, but there’s one teensy problem: split screen editing and graphics are become overkill for a visual subtext of alienation. Thus, they seem to have little if any on-screen chemistry because literally there is a line separating them. Furthermore, it relies too much on extraneous characters, pointless subplots, and an unnecessarily long run-time to weaken its romantic story-line further. However, I really fancied the rocking soundtrack which was full up with The Cars’ classics.
In 2003 Los Angeles, Debbie (Witherspoon) and Peter (Kutcher) hook up one night at her place. He disappears for a while but they reconnect as close friends. Then twenty years later Debbie gets divorced and becomes an overprotective mother who works as a bookkeeper. Her thirteen year old son Jack Wesley Kimmel suffers from nearly every known allergy! In this time period Peter has moved to New York City where he is now a successful consultant with lots of money. They text, call or video chat daily on their phones though it annoys most of his girlfriends.
Debbie seizes this chance when she learns about statistical modeling course offered in her neighborhood university campus for only a week & needs in person attendance. Unluckily Rachel Bloom fails at the last minute as my sitter. It’s him since he just ended dating phase after working through some relationship issues associated with his past girlfriend while still others remain unknown to many people till today even though such details became evident afterwards on social media platforms like Instagram; therefore nobody would easily know what it means by posting funny memes that don’t make sense either themselves nor anyone else except meme creators who want show how much they love their favorite celebrities 4 (of what was already mentioned earlier) He’s done with a project and he is also single again. Debbie will be staying in his fancy, state of the art high-tech NYC bachelor pad. He’ll chill with Jack, become the hero.
The change of place had significant impacts on both of them. Debbie starts to open up. Minka (Zoë Chao), Peter’s ex-girlfriend and neighbor who is an hipster becomes her guide to freedom. Peter tries to free Jack from the attachment that LA enforces on everyone and helps him make friends here. As they spent time in each other’s lives, it hits them what is missing.
The first-time filmmaker Aline Brosh McKenna who wrote The Devil Wears Prada and Crazy Ex-Girlfriend directs this film. She wants this to be a classy modern romance about love that lasts forever. That isn’t true as McKeena intended for everybody who watched these movies wanted or needed them; however, there might some sweet poetry behind such idea since she meant well even if those intentions failed to materialize properly due more than anything else being too radical at least visually speaking which begs question – how much does one really need good cinematography when all these types films are seen from perspective middle class woman? They have been roommates since getting together with each other before officially breaking up after year following living together for five years! They call frequently but never talk about their feelings openly. This causes a rift where secrets remain unspoken between friends: there are bits of worth and some cute ingenuity in McKenna’s motive.
The execution presents several problems though. The director overused split screen in trying to use it as a narrative tool but ended up messing everything up completely by doing so. There are scenes were we can see both Peter and Debbie during conversations but there’s no relationship building interaction taking place between them yet at least. This methodology becomes a barrier when it should be doing the opposite. Conversely, McKenna could have learned from Tom Hanks and Meg Ryan who starred in Sleepless in Seattle and You’ve Got Mail, respectively as characters that fell for each other while miles apart. The divide between the two individuals vanished through such passage of events which naturally caused their union to happen. However, McKenna needed to do away with frills. Traditional editing techniques would have better served the film.
Your Place or Mine has some pointless supporting cast members too. We can cut Steve Zahn out as Zen; he is just this guy who lives next door and does gardening without asking for anything by way of payment whatsoever. He loves her, but that’s about it: no forward momentum, no added value. Who needs all those ensemble shenanigans? Slowing down might have helped fix some of the major visual problems associated with pacing and lengthening the editing process too much.”
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