Another film and another variation on the romcom formula. Honestly, I’ve come to sit through the trailers for these flicks counting down the seconds to the shit-eating ‘but’.

In the latest cab off the rank it’s the tyranny of distance, as Drew Barrymore’s Erin and Justin Long’s Garrett attempt to hold down a trans-American relationship. If that sounds about as enjoyable as drinking drain cleaner I couldn’t blame you, but Going the Distance actually has plenty going for it: strong performances, a couple you can root for and some genuinely funny moments.

At the start of the pic, hip-to-the-scene New York record exec Garrett is making that most basic of schoolboy errors: not giving his girlfriend a birthday present – a brief argument later and they’ve broken up. At his commiserative drinks, the ambivalent Garrett manages to interrupt the Centipede game of newspaper intern Erin, and nary pitcher of beer later they’re back at his place, punching cones and making moans.

This opening gambit from the filmmakers sets us up for the duality that is Going the Distance. For every single thing this film does that’s smart and true there’s a moment that’s hopelessly cheap, grafted on by a careless and overambitious gag guy.

So you have the realistically drawn character of Erin cancelled out by the romcom cliché of the leading man’s best mates who can’t help but not help, or the truths of long-distance communication buggered by a set of semen jokes. Bongs? On a first date?! At least roll that fucker and pretend your characters are somewhat civilised.

As the film finalises its setup the weirdness becomes almost too distracting. Erin is leaving for the east coast in six weeks, so the two decide to keep things noncommittal. But logic is of course no match for the machinations of love, and what started as a summer fling soon turns into expensive plane flights and flaccid phone sex. At least Garrett has his mates’ dick jokes to see him through.

Thankfully, Going the Distance slowly arm-wrestles its deficiencies into submission. As the film finally settles into a second act rhythm, screenwriter Geoff LaTulippe begins to nail home his major characters, as well as flesh out a nice subtext on the seemingly broken industries of old media and record producing, so the weird behaviour and comic diversions don’t seem so jarring. For her part, first-time feature director Nanette Burstein gives the film lashings of naturalism and handles well an excellent, experienced cast.

It’s this killer cast that probably gets the film over the line. Barrymore has to be one of the best female leads in the business, her presence adding a genuine touch of class to Going the Distance. Long too is good value, his special gift for comic timing proving handy when selling the flick’s more retarded lines. In the major supporting role of Erin’s straight-laced but caring sister, Christina Applegate regularly comes close to stealing the entire film.

Eventually, Going the Distance succeeds despite its faults. The tonal inconsistencies are unfortunate and hint at a bunch of filmmakers lacking conviction in their own material. But this is a film with a couple you can actually root for as well as a collection of quality moments, some touching and some hilarious. Gents, this is one romantic comedy that you shouldn’t be ashamed to tag along to.


I say: If only everything about this film was as solid as the truth at its core, we’d have a bona fide romcom classic. As it is, this is reasonably enjoyable stuff.

See it for: Its female performers. Barrymore and Applegate are both excellent.