At first glance, “Splitsville” may seem like it could delve into risqué territory. After all, a story about two married couples deciding to open their relationships sets the stage for typical late-night cable clichés. However, co-directors Michael Covino and Kyle Marvin take the film in a different direction.
Instead of drowning the story in gratuitous nudity or salacious sex, they focus on the messy, awkward, and sometimes hilarious negotiations that accompany testing the boundaries of love and commitment. The result is a dramedy that emphasizes the psychology of desire rather than the physical act itself.
The film introduces us to Carey (Covino) and Ashley (Adria Arjona), along with Paul (Marvin) and Julie (Dakota Johnson)—two seemingly close-knit couples whose relationships have grown stagnant. Rather than resorting to therapy or separation, they decide to experiment with an open relationship.
Naturally, what seems liberating in theory quickly reveals jealousy, insecurity, and a great deal of chaos. From Carey and Paul’s jaw-dropping fistfight that literally tears a house apart to a clever time-lapse sequence where Ashley cycles through partners while Carey shrugs and adapts, “Splitsville” thrives when it embraces absurdity.
Still, Covino can’t resist pushing gags beyond their breaking point. A sequence where Carey, devastated by Ashley’s infidelity, flees across land, water, and sky is clearly intended to be over-the-top funny. Initially, it is. But the joke drags on, and, much like the film’s 104-minute runtime, it begins to feel stretched thin. Despite its bold premise, the story occasionally circles back on itself without building deeper tension.
What keeps *Splitsville* engaging is the chemistry among its four leads. While none deliver a powerhouse performance, together they create a strong dynamic, particularly in ensemble scenes that highlight their interconnected relationships. Dakota Johnson once again proves that she can balance humor with emotional depth given the right material.
Meanwhile, since I wasn’t particularly familiar with Covino or Marvin before this film, their unfamiliarity worked in their favor—making it easier for audiences to step into their shoes and relate to their fumbling, often clueless characters. Musically, the score by Dabney Morris and David Wing injects much-needed energy into the quieter moments with playful cues and standout songs that help prevent the narrative from feeling too static.
Ultimately, “Splitsville” is as divided as its title suggests. The film sidesteps cheap erotic thrills in favor of a more thoughtful, albeit uneven, look at whether open relationships strengthen bonds or merely expose existing cracks.
It’s funny, frustrating, and occasionally profound, but it never quite lives up to the daring potential of its concept. Still, for audiences curious about the comedy—and discomfort—of modern love experiments, it may be worth a watch.
Final Grade: B-
“Splitsville” is in limited theaters now and expands wide this Friday.
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