I watched this on the strength of Michelle Williams' presence: since first seeing her in the magnificent 'Station Agent', she has proved herself to be an outstanding actress who has often been in quirky, indie films which focus on character and eschew the glossy production values of standard Hollywood fare. (Try 'Blue Valentine', 'Meek's Cutoff', 'Wendy and Lucy', as well as the more mainstream 'Brokeback Mountain' and 'Marilyn'.) In that context, this is something of a disappointment, though still eminently watchable. I was also interested to see another Sarah Polley film as an earlier acclaimed film had left me cold: I really wanted to see what I might have missed about her work.
The basic premise is interesting enough, of a woman falling out of love and finding emotional and sexual liberation outside her marriage, and I find it very difficult to put my finger on why it doesn't quite succeed, though I think part of the problem lies with Seth Rogan: for me he seems so limited in conveying a character who is interesting or appealing enough to have attracted Margot that it is hard to believe their relationship ever existed, though conversely, I suppose, one can see why she wishes for escape! His voice, for example, is utterly lacking in flexibility and nuance.
Some of the elements suggest a romcom package: her phobias which prompt the pretence of disability to enable her to cope with them; Lou's (Rogan) exclusive focus on chicken cookery; the stranger on the plane who happens to live over the street and earns money selling rickshaw rides. And yet the film presents it all 'for real', and not entirely convincingly so. The arrival of the ending seems clumsily delayed so the sense of the story arc is mismanaged (and I really don't think Polley is 'playing' with audience expectation in an interesting or subversively creative way). The, for want of a better description, sexual montage which we see towards the end, presumably inserted to show how far Margot has moved on, is not convincingly presented as a plausible development. Or perhaps she has just got herself into another relationship that isn't 'right'. But that's a guess, not anything the film really seems to imply or illuminate.
I found Polley's previous film 'Away From Her'(acclaimed by critics), a real damp squib too, doubly disappointing as family experience made me particularly eager to see a thoughtful film about the effects of dementia within a relationship: that too was only OK, and not a film I would want to see again.