Comedy on the big screen has entered a troubling decline, a trend that seems particularly stark when reflecting on the past. In January 2016, Ridley Scott’s film “The Martian” surprisingly took home the award for Best Comedy at the Golden Globes. This raises the question: where have all the memorable comedies gone… those films like “Anchorman,” “Superbad,” and “Bridesmaids” that once had audiences rolling in the aisles? Instead, they’ve been largely replaced by dramedies that feature humor weighed down by uncomfortable themes.
The good news is that 2025 appears to be a turning point, as several films come forward aiming to revive genuine laughter in theaters. Among them are A24’s “Friendship,” Paramount’s reboot of “Naked Gun,” and Disney’s “Freakier Friday.” Another entry into this hopeful lineup is Neon’s “Splitsville.”
“Splitsville” kicks off dramatically with a split, fitting given its title. The story follows Carey, played by Kyle Marvin, a well-meaning but somewhat naive gym teacher grappling with the shocking revelation that his glamorous wife Ashley, portrayed by Adria Arjona, not only desires a divorce after just a year of marriage but has also been unfaithful. The tension escalates when Ashley hesitates to reveal the full extent of her infidelities. In his search for guidance, Carey turns to his confident best friend Paul, played by Michael Angelo Covino, and his wife Julie, portrayed by Dakota Johnson. Their insight into an open marriage sets off a whirlwind of misadventures that peaks when Carey and Julie’s bond leads to a confrontation that results in one of the funniest fight scenes in recent memory… yes, it does involve a “fish slap.”
The narrative thickens as Carey brings the concept of open relationships back to Ashley, leading to an increasingly uncomfortable living situation where Ashley’s various lovers become part of Carey’s social circle. All these complexities come to a head during a tense birthday party for Paul and Julie’s son.
Covino and Marvin shine in this project not only as on-screen actors but also as collaborative creative partners. Having co-written and produced “Splitsville,” the duo builds upon their previous successful collaboration in “The Climb,” their debut feature that unfortunately saw limited audience due to the pandemic. Their chemistry translates effectively; Marvin’s portrayal of Carey as a lovable loser resonates, especially when coupled with moments of vulnerability displayed by Covino. As Paul, he navigates his own insecurities while maintaining a facade of confidence.
While Johnson and Arjona take a backseat in showcasing their comedic talents in past roles, “Splitsville” allows Johnson to revel in her character, a mother who grapples with her husband’s claim of business trips in Manhattan while she retains her own sexual independence. Arjona’s character showcases her humor as well amidst a rotating cast of Ashley’s one-night stands, including Nicholas Braun from “Succession” and Charlie Gillespie as a wannabe rocker who overstays his welcome in Carey and Ashley’s apartment.
Visually, the film stands out, thanks to Covino’s artistic direction. Its retro vibe is amplified by masterful cinematography from Adam Newport-Berra, who maintains a brisk, energetic style echoing his work on “The Studio.” The score, crafted by David Wingo and Dabney Morris, functions almost as another character, enhancing the film’s comedic moments.
At its core, “Splitsville” can also be interpreted as a cautionary tale about the increasingly popular open relationship dynamic. However, this point is not the film’s primary intention. During a screening in Chicago, Covino emphasized that he and his team do not aim to impose messages through their films. “We don’t really believe in the concept of messages in movies,” he stated, explaining that entertainment is the central goal of filmmaking.
This focus on providing entertainment is a refreshing notion in a film landscape often burdened with heavy-handed messages. After years of comedic drought, the return to pure entertainment and laughter is not only welcomed but necessary.
As this review marks a new chapter for film critique, it’s crucial to establish parameters. Movies will be rated out of four stars, honoring the legacy of film critic Roger Ebert. The evaluation will emphasize entertainment value, artistic merit, and originality. Furthermore, to aid in decision-making in today’s crowded viewing landscape, each film will be labeled with whether it deserves a “SEE IT” in theaters, “STREAM IT” when available, or “SKIP IT” altogether.
Quality comedies have become increasingly rare over the past decade, making the arrival of “Splitsville” a reason to celebrate. This film is a fresh, riotous romp that not only entertains but solidifies Covino and Marvin as filmmakers worth watching. “Splitsville” carries an R rating for its language, sexual content, and graphic nudity; it runs for 1 hour and 40 minutes, currently available in select theaters with a wider release set for September 5, 2025.
"*" indicates required fields
