Richard is the only black investment banker in the firm, for example. “So I know all the other blacks who work here,” he says, greeting the (black) custodian and the (black) maid. Then, in the elevator, a black courier starts singing offensive rap lyrics while listening to his headphones. Horrified, Richard backs away as fast as he can. Also, no one in the office bats an eye at the ongoing adultery of Richard’s colleague (Steve Buscemi, with his excellent-as-always deadpan smarminess). But when Nicky starts showing up, the entire office is abuzz, implying that they’re holding Richard to a different standard.
The film is extremely loose when it comes to language and sexual themes, with frank discussion about marital sex (specifically, the lack thereof), men’s lust and the reality of temptation. If you can get past this, however, you’ll find that Rock makes some insightful points, all within the context of excellent acting and direction (and a few clichéd jokes that should have been scrapped). First, Rock shows us how hard marriage is. Second, he shows us how crucial sex is for married men, who can otherwise find themselves distracted. “The most dangerous time in a marriage is when a couple accepts that they aren’t having sex,” he says.
Wives, Rock seems to say—especially those who are busy with jobs and young children—may not realize the importance of this physical connection. Fortunately, Rock also makes it clear that both partners are usually at fault for any divide (with an unfortunate song). His ultimate conclusion:
“Life is about choice. We’re all the sum of our choices. And most of them are made for us. You can’t choose where you’re born. You can’t choose when you’re born. You can’t choose your family and you can’t even choose who you love. But you can choose how you love.”
A surprisingly truthful film.
AUDIENCE: Adults only
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