"Together Together" is not just smart, it's sneaky-smart. You go into it thinking you know what you're getting into, and feeling impatient or dismissive as a result, because the movie conspicuously makes choices that seem intended to announce which boxes it's about to check off. Then it keeps confounding you—in a way that's understated rather than show-offy—until you have to accept it on its own terms. It's the perfect storytelling tactic for a movie about a surrogate mother and her patron, a divorced man 20 years her senior. The main characters don't fully appreciate each other until they quit trying to categorize their relationship and let it be whatever it's going to be, while trying not obsess over what'll happen once the baby is born.
绳索-A涂料策略以开口序列开始。一个名叫马特的中年男子（艾德掌舵) interviews a young woman named Anna (Patti Harrison.) in what initially seems like a speed date, then a job interview (it's both, in a way). The questions are cutesy yet invasive ("What's the worst thing you've ever done?"). The solo piano score, by亚历克斯四人，具有关于脱离郊区群的游艇型透明水声音特征，围绕郊区陷入困境，通过存在性危机。信用字体是温莎灯浓缩，用于所有伍迪·艾伦片以来“安妮大厅。“在领先行动者的年龄差距之间，他们的自我意识但有时有时绊倒的漫画戏，似乎“一起”在一起“是一种努力，旨在让我们在没有拥有中期木质艾伦电影的乐趣要考虑，嗯，y'know，伍迪艾伦。
事实证明，这不是领导克服社会障碍的那种电影，并每次作为丈夫和妻子幸福地生活。事实上，事实证明是一个罕见的电影，大约有两个你从未见过电影中的角色。他们最初似乎从中间浪漫喜剧布中削减。作家/董事Nikole Beckwithand her lead actors gesture in that direction by having Matt and Anna quickly disclose shared feelings of loneliness and aloneness (different concepts) and talk about their troubled pasts. Matt is the designer of a masochistic app called Loner that lets users browse profiles of other singles; they're not allowed to save profiles unless they favorite them, and they can only pick one to favorite. Matt's marriage collapsed for undisclosed reasons (basic incompatibility, it seems). But he decided to have a kid anyway, using his own sperm and a donated egg. He's acutely self-conscious about being a single, straight man in his predicament. Anna got pregnant in college, gave the baby up for adoption, and earned the double-ire of her parents, who considered her a failure both for having an unplanned pregnancy and not keeping the kid. "It seemed as if the only way they would be happy is if I was wildly unhappy," she tells Matt. What is this, discount查理考夫曼？
It's complicated. Money is involved. They've held hands, but not each other. They've shared secrets, but not a bed. Anna isn't attracted to Matt, and to the extent that Matt makes overtures in that direction, they seem obligatory, as if he's been conditioned to expect a heteronormative fantasy outcome (as academics might describe it). What drives these two? What are we looking at when we look at them? Anna and Matt's predicament is like that moment when you're working on a project late at night, bleary-eyed and easily distracted, and stare at a commonplace word like "door" for a long time and think, "Is that really how it's spelled?"
脚本有three-trimester结构。在first trimester, you wonder if Beckwith is incompetent, bad at conveying basic plot information, or just messing with your head. The characters keep ending up in situations that make you wonder if boundaries were even discussed (as when Matt is present in a room where Anna is being wanded by an obstetrics nurse, and brings Anna a gift of a human-sized teddy bear, the go-to impulse buy in unimaginative romantic comedies). By the second trimester, Matt and Anna seem to be getting along so well that you wonder if the film is going to have them fall in love and get married anyway. Matt is an unglamorous but decent man, the "good catch" in rom-coms who might end up with the female lead after a sexier but more chaotic and self-centered man broke her heart. Matt is constantly doing little favors for Anna and questions himself when he inadvertently upsets her. Anna is grateful for the compliments he gives her, as well as the way he rescues her from awkward situations.
界限在适当的时候讨论，伍迪艾伦喜剧及其关于男女“自然”的陈词滥调（及其对年龄差距的令人沮丧）。一些春三个星期的场景感觉，回顾，误判，或者至少没有想过。应该有一种方法可以让我们欣赏人物的尴尬，不知道如何表现，而不是让我们想知道电影制作人是否笨拙地模仿Rom-Com Tropes。以及伍迪艾伦的电影批评的长期场景感觉就像是一个毫无意义的迂回到子文本文本。这是电影中最糟糕的余量，因为它是无机和话语 - 一个应该被保存为公关之旅的临时关键独特。
Despite these and other missteps, "Together Together" is a sturdy film that's determined to avoid the obvious choice. Like Beckwith's feature debut, "Stockholm, Pennsylvania," it invites inattentive viewers to put it down for being something it only pretended to be, on purpose, and only briefly. Harrison and Helms are a thoughtful duo. Each has a melancholy streak. Each seems determined to surprise the other and refuse to allow simplistic choices to pass unchallenged. Mutual respect comes through in their performances. There's a scene in a birthing class that might constitute the best acting either has done to date.