Melissa and Hugh divorced decades ago, but the heat never left their hate. They still go at it, hammer and tong, voices shrieking, threats rising and profanity flying. And theyre every bit as funny as old pros Catherine OHara and Richard Jenkins can make them.
Their eldest son, Carter (Adam Scott), may not be able to Make the madness stop. His oft-married dad is still a serial philanderer, and Mom is still the harpy who never lets him forget it. But Carter manages them as only an A.C.O.D. can.
Thats Adult Child of Divorce, an acronym for a very real subculture that earns a movie comedy that is funnier in performance than it ever was as a script. Scott ( Step Brothers, The Guilt Trip) plays the sane corner of calm in the sea of storms his parents thrive on. When Carters younger brother Trey (Clark Duke) announces his engagement, Carter is the one Trey trusts will make peace between the warring couple that gave birth to them. Fat chance.
Carter is a restaurateur who has used a lifetime of calming the waters as training for dealing with irate customers. But this last, great throwdown has him questioning how he has turned out, how he can soothe the hurt feelings of his parents latest spouses (Amy Poehler and Ken Howard), how he can mollify his more-than-patient girlfriend (Mary Elizabeth Winstead).
Maybe a visit to his childhood shrink will help. But chatting with Dr. Judith (Jane Lynch, on-the-nose casting) reveals that shes not a real therapist, merely a researcher who used the young Carter and several others to write a bestseller about children of divorce. Seeing him now, she can barely contain her glee at the idea of doing a follow-up book about adult children of divorce.
Scott is the rather staid center that a stellar crew of zanies surrounds, and theres just enough movie here to give most of them moments to shine. Jessica Alba, in perhaps her finest performance, is sexy, aloof and amusingly damaged as another former Dr. Judith subject. Poehler dials it up as Hughs latest trophy wife, a harridan hated by the rest of the family.
But Duke, so hilarious in films such as Kick-Ass, is given nothing funny to play. Winstead plays a female version of a straight man.
Veteran TV writer turned co-writer/director Stu Zicherman sees to it that Jenkins and OHara more than cover those shortfalls. Their characters are nothing short of maddening, and the duo pull out all the stops in their fights and what comes after those fights. Lynch, self-absorbed and superior as ever, delivers the lines (some of them narrated) that connect the comedy to the zeitgeist, the truths behind the farce.
You are the least parented, least nurtured generation in American history, she consoles Carter and his A.C.O.D. peers. Theyve become adults who walk around like victims, shells of insecurity who cope by negotiating over everything. No wonder theyre so screwed up.
The promise of the premise and the gift of this cast is sort of wasted in a thinly scripted film thats too brief to let everyone have moments to shine, too focused on its straight-laced lead Scott to allow more big laughs. With a wedding on the way, parents behaving badly and messed-up kids coming to grips with their legacy, this should have been a manic 90 minutes.
A.C.O.D. should have been a lot more A.D.H.D.
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