Review: Friends With Benefits

In cinemas across the UK this Friday, Friends With Benefits is the best rom-com released so far this year.  Granted, the competition hasn’t been stiff and that title will only remain until Crazy, Stupid Love is released, but neither point takes away from how surprisingly enjoyable and well-written Friends With Benefitsis.  This Mila Kunis and Justin Timberlake  vehicle is dialogue driven, opting for clever banter between characters over silly situations and boasts terrific support and cameos- most notably of which, sees Emma Stone providing a fantastically foul-mouthed opening scene that strikes an early high-note.

Justin Timberlake and Mila Kunis star in Friends With Benefits

Justin Timberlake is Dylan, head of a small but successful web-blogged who is recruited by Mila Kunis’ head-hunter Jamie for a top position at GQ. Leaving his father and sister behind in Los Angeles Dylan makes the move to New York City and the close, buddy relationship with Jamie is established.  The office-based scenes are bolstered by Woody Harrelson’s proudly gay sports editor, Tommy who delivers some wickedly fun exchanges.

Taking a moment to lampoon the exact genre Friends With Benefits falls into, it’s not long before emotionally unavailable Dylan and emotionally damaged Jamie are hopping into bed together for strings-free fornication. Having agreed to take a tennis-like approach their hormonal desires together, the two agree that it’s just sex and to keep their emotions out of it.  Despite taking a swipe at generic Hollywood romance, Friends With Benefits doesn’t offer any surprises and after a fair amount of humorous and un-sexy sex scenes heads in a well-worn and predictable path.

What makes the film stand out from the typical rom-com fare is that it is very smartly written.  Each character that is introduced serves a purpose.  Dylan and Jamie become well-rounded characters thanks to their interactions with their respective families.  While Friends With Benefits could have been more interesting by breaking from the clichés of Hollywood, there’s a lot of like here, from Timberlake’s self-deprecating lead to Richard Jenkin’s touching depiction of Dylan’s father there is a lot to enjoy, even if the only thing missing from the finale in the horse-drawn carriage. 8/10