OVERVIEW
Gail’s relationship gets flipped upside down after her fiancé turns a hypothetical “pass” into very real sex with Jennifer Aniston. Determined to even the score, she heads to Los Angeles with one target, Jon Hamm, but the trip doesn’t go as smoothly as planned. Along the way, she assembles a strange little crew, and the story follows a Wizard of Oz framework, set in a world of Hollywood delusion, photo ops, Italian gangsters, celebrity cameos, and early-2000s comedy chaos.
EXECUTION
The one thing you can say about the film is that it fully commits to its wacky premise and plays it in a gag-driven, joke-first way. Gail talks with a straight face about her mission to have sex like her life depends on it, and the supporting characters treat it with the same dead-serious intensity. On paper, a wide-eyed lead and a crew of oddballs, including a washed-up actor willing to send himself up, and of course, plenty of cameos, could feel nostalgic and self-aware. In practice, it is completely obnoxious.
This formula powered plenty of 2000s comedies, but a lot of what played then does not land now, and David Wain, in his first feature-length film in eight years, shows little interest in updating it. The movie also feels stuck in an era when Hollywood was still treated as a magical destination, and much of it hinges on how much you care about Los Angeles and the film industry.
Some portrayals of other ethnicities are problematic, especially the Italian villain, portrayed with an exaggerated accent. Worse is Otto, Gail’s openly gay best friend. He is the stereotypical gay sidekick, fashionable and “progressive” on the surface, but written as a personality that exists mainly to serve Gail. Late in the film, everyone gets a wish that pays off their arc, except Otto, whose reward is to go on a roller coaster. That is the agency of the supposed co-lead of the film.
For those on board with what it is proposing, it may stay entertaining as the “jokes” keep coming, recycling well-worn tropes. Stereotypes, misunderstandings, bumbling goons, and self-serious monologues fill the runtime with no pause. Even if you are with it at first, chances are you will get tired long before it is over, even if the film only has 93 minutes.
The actors commit to the bit, delivering ridiculous lines and earning their paychecks while embarrassing themselves. Many are performers who have not had a major feature showcase in years, so the desperation tracks. What is harder to swallow is seeing people like Jennifer Aniston and Jon Hamm, both of whom have worked with Wain before, show up for this and, honestly, make you wonder how far friendship should go. Poor Zoey Deutch, coming off a strong 2025, is forced to deliver repetitive, poorly written jokes. There are scenes, like the one where she repeatedly punches someone, in which her character’s annoyance begins to feel genuine.
AFTERTASTE
Comedy is subjective, so if this works for you, power to you. I found it utterly devoid of laughs, with an extremely dated and old-fashioned concept and portrayal of foreigners and gay characters. I did not buy any of it, I could not care less about the annoying protagonist, and I could not wait for it to finish. Thankfully, it did.