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and to stop the movie at its climax to underline the others' failings in monologue. This isn't the fault of Penélope Cruz, who walks away with the film long before she explains why Rogen and Wilde's marriage is over, but it dislodges the film from its already shaky foundation (an infidelity comedy that won't let its protagonists cheat even when given license, a slow boil towards the revelation of secrets where most of the characters lack discretion or a filter) and makes its message too textual, too bluntly stated, too obvious.
The movie is also blocked and edited with surprising indifference (or "efficiency," I guess) for a movie that could have benefitted from showiness and meaningful interaction. Whatever actors'-workshop qualities the material contains are undone by Wilde's insistence on filming much of the movie in claustrophobic individual close-ups. Not much of this film about the desperate struggle for intimacy from one's intimate partner contains two people interacting in the same shot; charged conversations are frequently relegated to easy shot-reverse-shots or actors talking to their partners' reflections in mirrors. I think it would have been more interesting to see the actors work through this material in more static, "play-like" master shots than constantly cutting between center-framed reactions and interjections.
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One of the worst offenders along these lines is the final scene, where Wilde has set up a nice, aesthetically pleasing shot (a gradual zoom in on her and Rogen sharing a moment of intimacy at a piano) and clearly filmed multiple takes all the way through, but where a number of redundant close-ups of the two (and their hand doubles, I guess) have been inserted. Why do this? It ruins a natural and cinematic emotional build-up in favor of purposelessly jerking us between distance and closeness.
