You get a sense right from the start that the marriage between "Joe" (Seth Rogan) and "Angela" (Olivia Wilde) is running on the fumes of what it once was - and that it has been for a while. He returns home from his mundane work as a music teacher to find that she has invited their neighbours for a continental supper. He has no recollection of this having been discussed, but his grump soon has to be restrained when "Piña" (Penélope Cruz) and "Hawk" (Edward Norton) arrive. Not unsurprisingly, they quite quickly read the scenario and suggest that this maybe isn't the best time, but "Angela" insists that they stay and enjoy some jambon and red wine - oops, he didn't remember to buy any so they are having to use their secret stash! Rather than settle into a more standard form of polite behaviour with their guests, the couple continue to bicker and snap at each other creating the kind of toxic atmosphere you could cut with a cheese knife. All the while, we are also sensing that their guests have a bit of an ulterior motive too, and that becomes altogether clearer when "Joe" and "Piña" split from the other pair and what now ensues tests the fabric of their marriage(s!) whilst offering us quite an insightful observation of a couple who are cruising along through life because they can't really be bothered doing anything else. Are they still in love, or even in like? Is their relationship beyond repair or does it just need a kick in the ass? Wilde manages to capture the exasperated wife convincingly and Cruz steals this towards the latter part of this nuptial analysis as her role - that of a counsellor - allows her to make some brutally acerbic comments on the state of her host's lives whilst also whipping a few cracks in the direction of her own beau whom Norton plays in an engagingly understated fashion. Never correct a Spaniard's English when she's in full flow!! The four actors are all on solid form both together and in their pairings and the comedy - of which there is plenty - comes mostly from writing that is sophisticatedly poignant throughout. Though essentially a critique on human relationships, this also takes a pop at the ridiculousness of faddishness too and the denouement has something quite "Tales of the Unexpected" to it, too. It does have something of the theatrical to it and I reckon it would work well on stage. As it is here, though, it's comfortably on par with Cesc Gay's original short comedy "Sentimental" (from 2020 and also worth a gander).