The first half of the movie fit the typical romantic comedy shtick however the second half was a bit deeper and fun to watch. The characters had good development throughout the movie and you found yourself rooting for them by the end. It wasn't a masterpiece, but if you have the time give it a watch!

An updated version of the "When Harry Met Sally" concept. I wouldn't say this is a typical Romantic Comedy - It is definitely a romance story but not very funny. Predictable, cute, but I wouldn't watch it again. I can see how other reviewers had forgotten that they already saw this movie when they started it again. It's fairly forgettable...There aren't any parts that stand out as the best or quotable lines or reasons to show/recommend this movie to friends or family.

The rom-com: a genre where (with preciously few exceptions) clichés used to go to die. Now, rom-coms are on the verge of being killed off themselves, their target demographic increasingly flocking to teen-lit adaptations like Divergent or whatever Third Next Best Greatest Marigold Hotel sequel hits theatres. Its unlikely resuscitation? Evolving from rom-com to raunch-com. Folks like Amy Schumer and Judd Apatow have hit pay dirt gunning for a late twenties/thirties, more sex-savvy audience, who, in the commitment-phobic epoch of divorce epidemics, tinder nightmares, and 'how to date squashed by lifelong student debt,' could probably use reassuring of the existence of feasible love more than anyone. Their latest drinking buddy, and arguably crown jewel of the lot? Leslye Headland's Sleeping With Other People. I know - on paper, it looks like a relic from the unbearably daft days of Ashton Kutcher etc. But damned if it isn't one of the sharpest, most observant and genuine, sweet, sexy, and - yes - outrageously funny films to grace theatres in years. Yes, really.Headland certainly learned from the best. In fact, if there's one major bone to pick with Sleeping With Other People, it's that it models itself after When Harry Met Sally to such an extent that it verges on plagiarism. But the comparison isn't unwarranted. Headland has a genius ear for crafting situations and dialogue that, in short, feel real, insightfully teasing out the wrinkles of contemporary dating culture with a refreshingly frank, rough-and-tumble honesty. Characters swear, have (lots of) sex, get stoned, and are simultaneously enormously charming and unforgivable assholes in the same breath. Friends sustain successful, happy marriages (gasp!), while our leads have panic attack-induced bathroom pukes without it feeling gratuitous, and are well-drawn enough that they can reunite at a sex-addicts meeting years after a college hookup without it feeling like a plot device. There's such a snappy naturalism to Headland's banter and our heroes' self-imposed friendship that the sweetness settling in feels like providence. Even the saccharine levels - the genre's greatest vice - are largely kept carefully under control. Although we can never quite decide if we want them to get together (let alone if it's a good idea ), it's impossible not to root for them throughout. A major cliché-combatting factor is the fact that Headland crafts a world of real consequences. When lovable assholes push their partners too far, no matter how timeless the Hollywood speech they conjure up, their partners push back - sometimes literally, and into traffic to boot. The film's most gratuitous Hollywood moment - a heartwarmingly affirming brunch brawl - leads to an arrest and extensive litigation which consumes a sizeable chunk of the film. With this in mind, it becomes genuinely hard to predict what will befall our irrepressible leads, and Headland's teasing out of the discrepancy between passion and contentment makes it a real struggle to decide which is a better call. And this only makes us all the more invested in our adorably, beautifully flawed characters, as they fumble towards making sense of life, sex, and love, all while spouting Headland's hysterically quotable dialogue, and capture our hearts like nobody's business. It helps that Alison Brie and Jason Sudeikis - both patiently awaiting their chance to shine on the big screen outside of TV excellence and forgettable Hollywood dross - are the new comedy pairing to beat. They're both outrageously charming, and share such a superbly witty, nonchalant chemistry that the screen practically sparkles as they exchange jovial put-downs, cheerily straightforward flirtation, The Graduate and Steven King references, and masturbation tips (you could groan - or cheer - at the number of times Brie shows up in lingerie, but you'll likely be too busy laughing at her irrepressible goofiness). Both have their defining character flaws - she's warped from being strung along by her college booty call (the excellent Adam Scott, magnetically powerful in being so dull); he routinely destroys relationships to avoid having to face up to his pickiness, and the film finds balance in their sombre beats. Still, they're clever enough to remain charismatic and organic throughout, and my goodness are they lovable. Backing them, Jason Mantzoukas and Margaret Odette are flat-out hysterical as the requisite married friends ("I miss drugs" and "My love is conditional!" may be the film's funniest one-liners), and are so entertaining riffing whimsically over the film's credits that we'd happily have them never end. Finally, Amanda Peet breathes life and genuineness into the 'prissy hot boss' cliché, while Adam Brody is unexpectedly golden as Brie's flamboyantly 'mansplaining' ex. 'Diamond in the rough' amidst the seas of less worthy Hollywood sex/rom-coms, Sleeping With Other People is, amazingly, only Headland's second feature film, after 2012's Bachelorette. But, after such a sincere and savagely funny sophomore effort, I'll definitely have more of what she's having. Mousetrap. -9/10

A generic rom-com in which the focus is on how the two leads should not have sex with each other, but instead help each other with their own relationship problems. This becomes difficult when they discover they've fallen for each other, but cannot let that secret out.Both Jason Sudeikis and Alison Brie are funny people, they both get a few laughs here with some pretty humourless material. They play their characters are broken pieces of sex crazed objects. He can't have a steady relationship because he just sleeps around, she can't have one because she is obsessed with an ex boyfriend who is married. Both of them are the last people you'd want as role models but they manage to be role models for each other in their own unique and twisted ways. With the film being about lots of sex, Brie has the troublesome task of being the sex symbol of the film. She has some moments to show off that side (lingerie fashion show) but the film just feels unsexy at times. It's a little off putting because the sex comedy is second to the emotional drama. Neither really prove to be THAT effective, but simply serviceable to the material. The film is plain, ordinary and not much else. I doubt I will remember anything about this film a few days from now, other than Brie in the aforementioned lingerie. Unless you're a fan of these two, I'd say this is a film you can totally skip. It's neither good, nor bad. It's the weird line down the middle.