"Shot with a nimble-fingered, compulsively twirling and rotating camera, MR & MRS ADELMAN freewheels in an almost mercurial form through the tonal discrepancies derived from a mishmash of components: a heady rom-com about a girl sets eyes on her Mr. Right and never let him go, a cynical satire on a writer's block (Victor's unpremeditated fixation with being Jewish, he even alters his bourgeois, Gentile surname de Richemont to Adelman), fame and egregious ego, an astringent matrimonial drama plumbing a husband's sexual frustration and a wife's desperation to hold onto the breadwinner of the family, or a reportage on gender politics within a nuclear family, but between Victor and Sarah, the one who gets the oneupmanship is evident along the way, as the story is as much an affirmation of a wife's high-wire maneuver of molding her husband into the man she wants (if not necessarily she worships) him to be, even without that final volte-face, as a no-holds-barred dissection of a tumultuous relationship that often blights a middle-class union where self-efficacy is foregrounded."