SURTALCHILGAAN DEER DARAHAD ARILJ KINO GARNA.
“Companions With Benefits,” a windy, quick and (no joking) entertaining drama with a pleasantly coordinated Justin Timberlake and Mila Kunis that is about adoration and sex in the period of informal communication, gets some of its juice and tang mostly by junk talking its own sort. The setup is well known, similar to the fundamental components: a solitary man and a solitary lady, two battered hearts yet a couple of versatile, anxious, pretty bodies. Yet, Ms. Kunis’ character is dull and shrewd, not light and dippy, and when she entertainingly rails against an inconspicuous Katherine Heigl you may murmur with help (fingers crossed) that you’re watching the “Shout” of lighthearted comedies.
Much as the primary “Shout” film gave repulsiveness silver screen a shock with hesitantly knowing characters who knew the ridiculous intricate details of the class — and were cruelly subjected to those prosaisms firsthand — “Companions With Benefits” begins from the preface that its characters, and you, are tired of the lighthearted comedy adages they may furtively, or not all that covertly, worship. As such, the chief Will Gluck, who composed the script with Keith Merryman and David A. Newman, wouldn’t simply like to have it both ways, he likewise needs to toss it in your face and make you chuckle as you lick the icing off your lips. The outcomes are about as wicked as that sounds (not), but rather it likewise makes for a reasonably snickering great time.
A corporate talent scout at the same time, you know, cool, Jamie (Ms. Kunis) meets Dylan, a Web website craftsmanship executive (Mr. Timberlake) , when she draws him to New York to meet for a spot at a men’s magazine. They meet adorable — she’s scrambling on an air terminal baggage claim and he’s wide-looked at and willing — and they’re soon off and running, or truly strolling and talking, for the most part talking. She needs him to take the employment to acquire her reward thus sweetens the arrangement by indicating him around what she calls the genuine New York. That this visit incorporates a blaze crowd shouldn’t be held against Jamie, not minimum since Ms. Kunis is quick demonstrating that she’s a blessing that continues providing for standard lighthearted comedy.
One reason is that she doesn’t play the stock young lady, weepy and poor or fearless and destitute, but instead a lady who can go kidding round for round against men. Ms. Kunis looks itty sufficiently bitty to hold tight an appeal armlet, however her vitality is so strengthening and sweeping and her nearness so energetic that she fills the screen. On the off chance that she keeps on scoring parts this way, she may even have the capacity to break out of the class. Obviously she’ll presumably be compelled to rival the similarly engaging and modest — if paler and pinker — Emma Stone, who, with a few other name performing artists, benefits as much as possible from a small part. Mr. Gluck coordinated Ms. Stone in “Simple An,” a softly (delicately) mindful flick about a high-schooler play-going about as Hester Prynne.
The class reluctance in “Companions With Benefits” reaches out from the disposable “Pretty Woman” gestures to a ridiculous (and entertainingly counterfeit) sentimental motion picture inside a motion picture that Jamie and Dylan watch after their underlying business relationship transforms into something more unstable feely and squealy. Having both been dumped, they choose that an incidental fast in and out with a companion is an immaculate post-sentiment lift me-up. Much like the late also themed if less fulfilling and cruder “No Strings Attached,” “Companions With Benefits” utilizes sex and exposed skin to get at inquiries concerning the likelihood of sentimental love between genuine male and female equivalents. All things considered, without Mommy and Daddy, religion, group or a ticking clock driving the issue, what’s the purpose of settling down (or simply settling)?
Mr. Gluck to a great extent separates himself in this motion picture by the throwing (Woody Harrelson plays a randy gay associate of Dylan’s, and Patricia Clarkson appears as Jamie’s mother) and by guiding the performing artists to talk at twist speed. Jamie and Dylan accomplish more than exchange prodding snickers, they pummel their lines like Chinese Ping-Pong champs, throwing the jests so quick now and again that it’s a ponder they don’t gaspingly go after the oxygen. That speed makes the duds less demanding to miss and the troubling substantial stuff simpler to overlook, and may obviously additionally help you to remember the screwball comedies of the 1930s and ’40s, an examination that Mr. Gluck ideally hails with an obvious blurb for “It Happened One Night.”
Clark Gable and Claudette Colbert stayed away with a cover in that 1934 diamond, while just their Calvins generally get amongst Jamie and Dylan, and once in a while for long. All things considered, in spite of the sex and prattle, which incorporates some entertaining bossy direction, the assessment keeps you snared.
Too terrible the entire thing is so difficult on the eyes: “Companions With Benefits” is unquestionably agreeable, yet it might be the ugliest carefully shot motion picture ever discharged by a noteworthy studio. The issue isn’t the serviceable shooting, the camera setups and so forth, yet the poor advanced quality that makes New York resemble an obscured Xerox duplicate and puts such a great amount of yellow in the performing artists’ countenances, particularly Ms. Kunis’s, you may believe it’s their livers that are giving them inconvenience rather than their souls.
“Companions With Benefits” is appraised R (Under 17 requires going with parent or grown-up gatekeeper). There’s sufficient reproduced sex and almost full nakedness that on the off chance that you see this with your folks you will be humiliated.