'Retreat' is Harmless

'Couples Retreat'

Review: 3/5

There's something about the banter between Vince Vaughn and Jon Favreau that brings an element of languor to any film they approach. Peter Billingsley's 'Couples Retreat,' is no exception, pairing the aforementioned duo with the hilariously deadpan Jason Bateman and the seemingly impressionable Kristen Bell. The film offers nothing extraordinary by any stretch, but its gentle approach to contemporary relationships suggests lighthearted fare that aims to be nothing more than a jocular compilation of familiar humor and conventionally drawn characters.

If you've seen any of the countless trailers, you know the premise. Bateman's relationship with Bell is approaching rocky terrain, so the two coerce their friends into a week-long vacation at the ominously titled 'Eden' - a picturesque beach that "looks like a screen-saver." Once the group realizes that they're in for early-morning therapy and "couples skill-building," hilarity ensues. Original, thoughtful hilarity? Not by any means. But if you enjoy Vaughn ranting incessantly about the restraints of the island, Bateman playing his quintessential straight man, Jean Reno as an eccentric French therapist, a gratuitous 'Guitar Hero' battle, cameos from John Michael Higgins and Ken Jeong, and kitschy little kids that say the darndest things, then this film will more than satisfy. If you're looking for the next 'Hangover,' I would politely advise you to stay away. Far, far away.

The film is essentially director Billingsley's debut (IMDB informs me he directed and indie film in 1994), and judging from the film's story and pacing, he seems to be more suited for the television medium. He lacks a distinguishable style and most commonly resorts to standard shot compositions and an exceedingly traditional mise-en-scene that seeks to play strictly by the book with no evidence of personal insight or an honest knack for comedy (credit Vaughn, Bateman, and Favreau for their flawless comedic timing and execution). An opening montage offers mild suggestion otherwise, but, all things considered, this film knows its disposition.