The Break-Up
You can tell from the opening scene – a relaxed, vibrant little number at Wrigley Field, with Vince Vaughn and Jon Favreau – that “The Break-Up” isn’t interested in hitting all the beats you expect a romantic comedy to hit. When Vaughn notices Jennifer Aniston sitting a few seats down, there’s no meet-cute – he’s attracted to her, and he hits on her. Imagine that!
“The Break-Up” doesn’t always fulfill the promise of this delightful opening, but it manages to fumble toward something resembling truth. Vaughn has said he conceived the story because he grew weary of the high-concept rom-com screenplays sent his way – and bravo to that. Vaughn is a throwback. He thinks personality, not pyrotechnics, should be the reason to see a movie. And while I think he overestimates the appeal of Aniston – who to me remains an ersatz performer – Vaughn is an actor in total control of his winning screen persona. The film acting community today doesn’t put much stock in persona – actors are supposed to be chameleons, reinventing themselves with every role. Vaughn tried that path earlier in his career, but now he’s accomplished something, in my view, more difficult – he’s the Cary Grant of his generation.
As for “The Break-Up,” it’s so intent on showing us why Vaughn and Aniston aren’t right for each other that we wonder why this relationship didn’t peter out after a few months instead of two years. Still, director Peyton Reed works beautifully with his supporting cast and establishes, with Vaughn, a seductive, syncopated rhythm.