Cuando Ashley le pide el divorcio, el bonachón de Carey acude a sus amigos Julie y Paul. Su secreto para la felicidad es un matrimonio abierto; es decir, hasta que Carey cruza la línea y hac... Leer todoCuando Ashley le pide el divorcio, el bonachón de Carey acude a sus amigos Julie y Paul. Su secreto para la felicidad es un matrimonio abierto; es decir, hasta que Carey cruza la línea y hace que todas sus relaciones sean un caos.Cuando Ashley le pide el divorcio, el bonachón de Carey acude a sus amigos Julie y Paul. Su secreto para la felicidad es un matrimonio abierto; es decir, hasta que Carey cruza la línea y hace que todas sus relaciones sean un caos.
- Director/a
- Guionistas
- Estrellas
Nahéma Ricci
- Antoneta
- (as Nahema Ricci)
- Director/a
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- Todo el reparto y equipo
- Producción, taquilla y más en IMDbPro
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Reseñas destacadas
"Tired of having a sexy partner, so go with someone bland"
I can see the mental deliberation that Carey goes through - you have an INCREDIBLY sexy wife, but she's not satisfied with just you, so you end up going for your friend's wife who is bland as hell, because you're tired of having sex with someone HOT and want something just "meh"
The problem is that you cross the line with friends, even though they're in an "open" relationship (Paul CLEARLY got bored with sleeping with a lump of wood and wanted something interesting), you never sleep with friend's partners (unless you're desperate to destroy the friendship)
All I can imagine is that Paul clearly settled while Carey risked a marriage with a woman FAR outside of his league, physically and sexually, and it backfired on him causing this "scenario"
Overall this film is just average, I was distracted by the obvious bits in the script, the "ok" story and only a couple of actually funny scenes
Dakota is a TERRIBLE actor, is bland as hell, and I don't know how she gets cast in so many roles, unless this is just the couple of years that most bad actors go through before casting realise they're BAD - look at Shailene Woodley, a couple of years she was all over the place, Taylor Kitch was the same, and many others come to mind - give it a year and hopefully we'll be rid of her from the mainstream!
The problem is that you cross the line with friends, even though they're in an "open" relationship (Paul CLEARLY got bored with sleeping with a lump of wood and wanted something interesting), you never sleep with friend's partners (unless you're desperate to destroy the friendship)
All I can imagine is that Paul clearly settled while Carey risked a marriage with a woman FAR outside of his league, physically and sexually, and it backfired on him causing this "scenario"
Overall this film is just average, I was distracted by the obvious bits in the script, the "ok" story and only a couple of actually funny scenes
Dakota is a TERRIBLE actor, is bland as hell, and I don't know how she gets cast in so many roles, unless this is just the couple of years that most bad actors go through before casting realise they're BAD - look at Shailene Woodley, a couple of years she was all over the place, Taylor Kitch was the same, and many others come to mind - give it a year and hopefully we'll be rid of her from the mainstream!
Oh wow.
I went into Splitsville hoping for a clever, biting take on modern relationships, but came away feeling deeply disappointed. Despite its trendy premise of open marriage and romantic entanglements, the film never earns its emotional stakes or dramatic turns.
What works (a few): Visually, the movie can be appealing - cinematography and production design occasionally offer pleasing frames, and there are moments of decent comedic absurdity. A few individual jokes land, especially when the male leads' insecurities are pushed to extremes. The pacing is brisk, which helps keep things from dragging entirely.
Major cons (why I rate it so low):
1. Emasculation writ large.
The film seems intent on reducing its male characters to caricatures of weakness, desperation and ineptitude. Rather than a nuanced exploration of vulnerability, Splitsville often feels like a smug humiliation of men - as if the only interesting role for them is to be mocked.
2. No character depth.
None of the four leads are truly developed. The women are especially short-changed: Julie and Ashley rarely transcend their roles as reflections of the men's conflicts. The film treats them as plot devices rather than full people with inner lives. Even where there is tension, it never feels earned - we don't know enough about anyone to care. (Many critics have noted this same failing.)
3. Dakota Johnson playing "Dakota Johnson" Her performance feels so comfortably in type that she brings no surprises. Julie is essentially a variant of roles we've seen her play before - cool, composed on the surface, emotionally stormy underneath - but here she's underwritten, so the trope becomes stale rather than intriguing. Critics have similarly pointed out that her character is manipulated more than developed.
4. Self-indulgent, smug tone.
The movie frequently seems to expect us to laugh merely because these characters are clever, edgy, or tortured - but it never bridges the gap between the cleverness and the humanity. At times it feels like watching its creators showing off rather than telling a story.
In summary: Splitsville is a visually polished mess whose ambitions outstrip its execution. It never builds enough empathy or insight to make its ideas resonate, and instead leaves you feeling hollow.
What works (a few): Visually, the movie can be appealing - cinematography and production design occasionally offer pleasing frames, and there are moments of decent comedic absurdity. A few individual jokes land, especially when the male leads' insecurities are pushed to extremes. The pacing is brisk, which helps keep things from dragging entirely.
Major cons (why I rate it so low):
1. Emasculation writ large.
The film seems intent on reducing its male characters to caricatures of weakness, desperation and ineptitude. Rather than a nuanced exploration of vulnerability, Splitsville often feels like a smug humiliation of men - as if the only interesting role for them is to be mocked.
2. No character depth.
None of the four leads are truly developed. The women are especially short-changed: Julie and Ashley rarely transcend their roles as reflections of the men's conflicts. The film treats them as plot devices rather than full people with inner lives. Even where there is tension, it never feels earned - we don't know enough about anyone to care. (Many critics have noted this same failing.)
3. Dakota Johnson playing "Dakota Johnson" Her performance feels so comfortably in type that she brings no surprises. Julie is essentially a variant of roles we've seen her play before - cool, composed on the surface, emotionally stormy underneath - but here she's underwritten, so the trope becomes stale rather than intriguing. Critics have similarly pointed out that her character is manipulated more than developed.
4. Self-indulgent, smug tone.
The movie frequently seems to expect us to laugh merely because these characters are clever, edgy, or tortured - but it never bridges the gap between the cleverness and the humanity. At times it feels like watching its creators showing off rather than telling a story.
In summary: Splitsville is a visually polished mess whose ambitions outstrip its execution. It never builds enough empathy or insight to make its ideas resonate, and instead leaves you feeling hollow.
Honey don't
Movies like this should really come with a warning. Been watching too many of these lately. Movies without any redeemable character whatsoever. A bunch of spoiled rich arrogant idiots who are so bored with their plentiful lives that they mess it up and complain they're unhappy and unfulfilled. I mean I kept hoping for one of them to be better at least, but no, they're just empty shells, constructs, maybe whoever wrote this thought it'd be funny for a modern crowd? I dunno, I'm clearly not modern enough, I need some character depth and some backbone. And it's so, so unfunny. I hate these people and watching this was both painful and boring.
Chaotic yet boring
I found myself checking the time to see how long I'd been watching the movie because I was so overstimulated yet underwhelmed at the same time. It felt like a whole lot of nothing. I love Dakota Johnson, but this film to me felt scrambled and random. And each character was extremely annoying and unlikable in their own way. The duet parts made me want to die and I hoped all of them would either meet new people or end up alone, none of which happened.
Anyone who has ever been around polygamy knows this movie is utter nonsense
First of all, the movie is well shot and had above average cinematography. Also good audio design and it does the nail the timing of the punch lines well. However, the problem is the entire plot hangs by the thread of you believing that Polygamy can be like this. Anyone who has ever been in a polygamous relationship or been around a couple who are not monogamous know that its never as loosey goosey as its shown here.
This is some unhinged messed up version that people who never experienced the actual think its like. Its a good watch the first time around for the shock value and the memes, but that is about it.
This is some unhinged messed up version that people who never experienced the actual think its like. Its a good watch the first time around for the shock value and the memes, but that is about it.
Banda sonora
Obtén una vista previa de la banda sonora aquí y continúa escuchándola en Amazon Music.
¿Sabías que...?
- CuriosidadesMichael Angelo Covino and Kyle Marvin did all their own stunts.
- ConexionesFeatures El aceite de la vida (1992)
- Banda sonoraWhenever I Call You Friend
Written by Kenny Loggins and Melissa Manchester
Performed by Kenny Loggins with Stevie Nicks
Courtesy of Atlantic Recording Corp.
By arrangement with Sony Music Entertainment, Warner Music Group Film & TV Licensing
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Detalles
- Fecha de lanzamiento
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- Títulos en diferentes países
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Taquilla
- Recaudación en Estados Unidos y Canadá
- 1.900.750 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 108.315 US$
- 24 ago 2025
- Recaudación en todo el mundo
- 3.197.742 US$
- Duración
- 1h 44min(104 min)
- Color
- Relación de aspecto
- 1.85 : 1
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