Friends with Money

6 our of 7

Jennifer Aniston continues to search for cinematic success to compliment her triumph in television and might have found it in Friends with Money.

Friends with Money is an unique film, insofar as it deals intimately with the lives of women, but simultaneously stays accessible to men. The film follows the lives of three couples and Olivia (Jennifer Aniston). This odd group is, apparently, the persistent friendship of the four women from their mutual single days. But, as life trudges onward, the bonds that once bound are called into question, as is the purpose of the future. Each character takes these questions on differently and each critiques the other for how they pursue their search. Ultimately, as one would hope, the group remains friends and better for the trials through which they have come.

To relive the entire plot, character-by-character, would tax this review unnecessarily and not even to the advantage of the reader, so I’ll say no more. Rather, I’d like to explore further the writing and directing (Nicole Holofcener, in both roles) and just why this film, whose plot isn’t too terribly different from most of “chick lit/chick flick,” (the latter term is, I believe, completely unique to me, but then, I doubt it) still works for men. I would reason that this film involves its male characters/actors enough to present a balanced version of both sexes and, in doing so, transcends its genre to a place of realism that makes watching drama personally fulfilling. Indeed, enough can’t be said about the male characters, especially Aaron (Simon McBurney), whose metro-sexual character serves as a metaphor for the film as a whole, as he too must rise above the standard genre expectations to surprise the viewer.

Holofcener shines as a writer/director in what is arguably her first major film (she has a few other films to her credit, but mainly her work has been in television, including four episodes of “Sex in the City,” whose influence shines through in the film. Really, four friends? Isn’t that a little convenient?). Again, though, it is the pleasure of watching a film starring women (the female leads are much bigger names than their male counterparts and include Frances McDormand, Catherine Keener, and Joan Cusack), written and directed by a woman, focusing on the lives of women that still doesn’t turn every man into a convenient stereotype, of whom it is easy to know who to root for and who to root against.

As a final note, Aniston does well, once again, taking a role that is quite far removed from Rachel Green, her “Friends" persona. The only critique might be that watching Aniston play this role will feel a little too familiar to her character from The Good Girl. Olivia, like Justine from The Good Girl, is direction-less and purpose-less, but with the hope for more that keeps the viewer engaged in her life and happenings. Thankfully, Aniston isn’t all just down-trodden and depressed in her roles, so maybe the rehashing of a similar character is permitted. Also, maybe, playing Rachel Green for a decade might force a few role choices that would get that taste out of her mouth.

Anyone who is in a relationship, be it with a significant other or friends or both, will see the reflections of their lives in this film and cinema that can get that close to real is always worth watching.