Well, this is downright peculiar, and no mistake. We have what appears to be a perfectly straightforward comedy/drama of morals/manners, whereby after 9 years of marriage, Alvin Finkel and his American wife Sarah find their marriage getting a bit stale, so they try a partner swap with another couple, then separate. Look a bit deeper though, and things aren't quite so straightforward.
This film has a definite air of an American reject being set in London instead of New York, with Martin Freeman playing the mildly neurotic smart-arse part which might have been played once upon a time by a young Woody Allen. This feeling is added to by Sarah's grandparents (Jerry Stiller and (I think} Beverly Klein) being very Jewish without there being the slightest indication that Alvin and Sarah are Jewish, apart from their name (not many English Jews called Alvin, incidentally). The grandparents serve no dramatic purpose other than being necessary for the payoff of one of the gags, by the way. Also, at one point, Angus Deayton actually utters the word "gotten". Sorry, but no-one in England says "gotten."
So this strange transAtlantic vibe pervades a story which would actually work a lot better if we were able to care about the people in it. I nearly cared about Mandy Moore's Sarah, but I cared not a jot about Martin Freeman's character. And without anything at stake, the dramatic element of the movie did nothing for me.
There were places where it was amusing but, broadly, this was a misfire with an identity crisis.
This film has a definite air of an American reject being set in London instead of New York, with Martin Freeman playing the mildly neurotic smart-arse part which might have been played once upon a time by a young Woody Allen. This feeling is added to by Sarah's grandparents (Jerry Stiller and (I think} Beverly Klein) being very Jewish without there being the slightest indication that Alvin and Sarah are Jewish, apart from their name (not many English Jews called Alvin, incidentally). The grandparents serve no dramatic purpose other than being necessary for the payoff of one of the gags, by the way. Also, at one point, Angus Deayton actually utters the word "gotten". Sorry, but no-one in England says "gotten."
So this strange transAtlantic vibe pervades a story which would actually work a lot better if we were able to care about the people in it. I nearly cared about Mandy Moore's Sarah, but I cared not a jot about Martin Freeman's character. And without anything at stake, the dramatic element of the movie did nothing for me.
There were places where it was amusing but, broadly, this was a misfire with an identity crisis.