Too in love with itself, ‘Splitsville’ falls short of the cutting marital comedy it wants to be

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Arrival of ‘Splitsville‘ coincides with a time when all comedies hitting the theaters seem like calls to arms, endeavors aimed at safeguarding the public’s right to enjoy themselves in cinema.

Under the direction of Michael Angelo Covino, who takes on multiple roles including producer, co-writer, and co-star alongside Kyle Marvin, the movie delves into a humorous examination of questionable decisions. In this comedy, men are portrayed as they often behave – making regrettable choices, displaying immaturity, vanity, and frequently acting upon their basest instincts (and it’s funny because it seems all too real).

In the realm of cinema, as the story unfolds, I find myself embarking on a journey where Marvin, portrayed as Carey, is wed to Adria Arjona’s character, Ashley. However, the shock waves start when Ashley reveals her infidelities and yearns for a divorce. In my circle of close companions, Marvin turns to Paul (Covino) and his spouse, Dakota Johnson’s Julie, who confess they maintain an open relationship. The plot thickens as I, Carey, find myself entangled with Julie, leading to a whirlwind of jealousy and intricate emotions among the quartet.

As a devoted cinephile, let me share my take on “Splitsville.” This film, subtly displayed through a neon sign at a dessert stand, initially seems to be a witty critique of upper-class ambitions, contemporary marriages, and the mystery surrounding other people’s relationships.

However, upon closer examination, it becomes evident that “Splitsville” is primarily focused on shedding light on the absurdities of male camaraderie. Characters Covino and Marvin, much like two peas in a pod, are so engrossed in their own self-adoration that they can’t help but make their antics the focal point of the narrative.

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With lofty anticipations, we found ourselves astonished by a total of ten outstanding titles. Among them were fresh creations from Lynne Ramsay, Jafar Panahi, and Nadav Lapid that truly left us speechless.

In a new twist, their prior film, titled “The Climb,” portrayed a tumultuous friendship marked by a rollercoaster of betrayal and support. Although the characters they play in this new project are not direct counterparts to those from “The Climb,” they embody similar roles. Covino embodies a composed yet insecure character, while Marvin initially comes across as helpless and exposed, but demonstrates hidden depths that suggest a greater wisdom than expected. Essentially, their characters find common ground somewhere in the middle.

The movie overall appears overly self-satisfied, giving an impression that viewers will find all aspects of the characters equally appealing as the creators do. However, what initially seems a subtle critique of modern masculinity ultimately falls short due to the same tendencies it aims to mock. (It’s mentioned several times that one character is well-endowed.)

In their roles, Arjona and Johnson are asked to portray characters that mirror personas they’ve played before. Arjona, like her character in “Hit Man,” exudes a warm, earthy charm, while Johnson’s performance in this movie resembles the composed yet chaotic atmosphere she presented in “Materialists” earlier this year. Despite their exceptional acting, it sometimes seems that their characters are being moved around like chess pieces by the male leads of the film, giving an impression that they’re more like game elements than fully developed characters.

As a movie connoisseur, I must say that Johnson and Arjona gracefully steal the limelight in this film, their charm and allure making every scene compelling. On the other hand, Covino and Marvin appear as if they accidentally wandered onto the set, their performances leaving something to be desired. The narrative tension between them never seems to resolve, constantly threatening to throw the plot off-kilter and disrupt the overall flow of the story.

In “The Climb,” a playful wrestling scene between Covino and Marvin briefly occurs, which comically portrays two grown men scuffling on the ground. This brief altercation evolves into an extended fight sequence lasting over six minutes, instigated by Paul’s discovery of Carey sleeping with Julie. The fight results in damaged furniture, cracked walls, a shattered fish tank (with the fish being rescued), and singed eyebrows for Carey. This intense, action-packed scene serves as the film’s main attraction and a significant highlight, showcasing both the strengths and weaknesses of the movie. While the fight is amusing and escalates dramatically, it may be too excessive for the characters and plot, appearing more like a self-indulgent creation by Covino and Marvin rather than an integral part of the storyline.

Despite being skilled at creating jokes, they struggle with coherence and consistency when tying everything together into a meaningful whole. With an advertising background, Marvin and Covino excel in crafting concise, impactful ideas that are effectively communicated through striking visuals. However, their acting performances within their films are their biggest drawback at the moment. Although they show potential, “Splitsville” fails to coalesce completely, even as it showcases a duo worth keeping an eye on.

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2025-08-22 22:01