By Mackenzie Cutruzzula
“That Awkward Moment” is supposed to feature a bromance twist on the classic romantic comedy. Starring Zac Efron, Miles Teller and Michael B. Jordan, the trio creates a funny and relatable dynamic. The movie is cliché, following three men in their mid-twenties living in Manhattan, who are stylishly dressed and not ready to settle down.
The movie begins to follow the classic romcom plot as the opening credits finish. After Jordan’s character finds out his wife has been cheating on him and wants a divorce, his two best buddies make a pact to stay single with him forever. As per usual romcom, the pact doesn’t last long when both Teller and Efron find themselves caught up in romance.
Aside from the formula romantic plot, there is a modern spin on the movie that accurately depicts dating in 2014. It showcases the current variety of relationship types, stemming from the technology era’s hook up culture that both brings people together and isolates them completely. The comedy side of the film is fresh and entertaining. Sticking to the title, there are plenty of hilarious awkward moments for the audience to enjoy.
Despite the bachelor narrative of the film, leading ladies Imogen Poots and Mackenzie Davis hold their own and grasp the audience’s attention with scenes that don’t depict them as weak women who are easy to pick up at a bar. Imogen Poots plays another static character of the genre, a young blonde publisher trying to find love and success in the Big Apple. However, she does bring both the male and female audience members to a halt since her close-ups feature the typical shooting look at Efron—the “are we falling in or out of love right now” look.
The other duo that shines together, despite the jaded script, is Teller and Efron. Their banter flows easily and keeps the movie going when it begins to run dry. Although they have two different styles and are two opposite characters, the macho man and snarky comedian proves very humorous. It was one of the only saving graces to the choppy and staggering plot.
In the end there is no big moment. The epiphany that guys can also fall in love is lackluster, and the big “shout it to the world” moment underperforms to standards set by “Say Anything” and “Jerry McGuire.” When you look past the semi-humorous jokes and good looks of film, you are no better informed of the insights of the male mind than when you stepped into the theater.