The film possesses certain appealing aspects, yet I found it a fairly straightforward progression of manufactured romantic problems that ultimately lost its energy. The story begins with “Ashley” (Adria Arjuna) and her husband “Carey” (Kyle Marvin), who appear to be happily married, experiencing a close call while driving to a beach house owned by friends. It’s then that she expresses her desire for a divorce. He leaves the vehicle behind and sets off on an individual journey to reach the residence of “Julie” (Dakota Johnson), “Paul” (director Michael Angelo Covina), and their young son “Russ” (Simon Webster), who have already been informed about this sudden announcement. This isn't the only surprise “Carey” is going to receive that evening, as it’s revealed they maintain an open relationship and believe he frequently meets women for sexual encounters in the city where he works developing real estate. What follows involves boundaries being blurred; connections (and furniture) undergoing scrutiny; a shift toward exploring diverse sexualities; Range Rovers being taken back and all of these individuals confronting their deepest desires and understanding what love represents to them. It brought to mind “The Roses” (2025) to some degree, but otherwise it felt comparable to an installment of “Sex in the City,” only lacking any nuance in its humor or making any of the four characters particularly sympathetic, which ultimately diminished any sense of emotional connection. While it does offer commentary on generations perpetually seeking therapy or purpose and also highlights our frequently inconsistent perspectives on sexuality, much of it feels unnecessary and drawn out.

Source on TMDB