[caption id="attachment_47470" align="aligncenter" width="607" caption="Alison Brie and Chris Pratt? Sign us up!"][/caption]

Five Year Engagement opens today and it seems critics either like the new Jason Segel and Emily Blunt starrer or are very underwhelmed by the entire thing. Most do seem to agree however that Alison Brie of Mad Men and Community fame is hysterical. take a look at some of the reviews below.

"Once you go with its premise, the movie is an enjoyable grab bag of messy life circumstances. Tom and Violet drift, love, fight, disengage, do pillow-talk therapy — and that's all before Tom goes off the deep end. Meanwhile, the movie, like so many Apatow productions, finds an antic redemption in the spirit of the group — Tom's co-workers, and also Violet's highly amusing team of postdoc psychology colleagues, who each have at least one screw loose. (That goes as well for her department head, a very smooth lech played with impeccable timing by Rhys Ifans.) The Five-Year Engagement isn't a comedy about falling in love. It's a comedy about falling from love, and grasping your way back to happily ever after." - EW

"The Five-Year Engagement is, for a movie in which a guy fakes an orgasm and (in a separate incident) stuffs a dead deer in his car's sunroof, very grown-up. It's grown-up in its assessment of how making sacrifices for someone else can also be a selfish act, and it's grown-up in its consideration of how, while love is all very well and good, you also have to make practical decisions about where and how you'll live. Sometimes, watching it, you wish it'd be a little less grown-up and a little more flexible in terms of what works as a comedy. (It sometimes feels like a lighter, happier take on Like Crazy or Blue Valentine.) But it's rare to see main characters as grounded and plausible as Tom and Violet are, and when they finally find their way back into each other's arms, it feels earned." - Movieline

"The message of The Five-Year Engagement is that men subordinate themselves to their fiancee’s careers at their peril — that putting your bliss on hold while the woman you love follows her’s is antithetical to the essence of Guyness. Which may be true, and at least this cautionary tale urges its hero to speak what’s in his heart rather than give in with a martyr’s shrug. The filmmakers still could have dug deeper. There are a few “daring” shock-jokes here to remind us we’re at an Apatow movie, but a more genuinely daring movie might have reversed the genders and explored Violet’s emotional agita as she gives up everything for Tom. That wouldn’t be a comedy, though. That would be life." -Boston Globe

"What this wilting, wobbly look at premarital pitfalls really signals, however, is that the Apatow raunch-com model may have run its course. The bearded producer’s touch is all over this, from the mix of sweet and salty elements to giving the second bananas more moments to shine than the leads (congratulations, Parks and Recreation’s Chris Pratt; you officially steal the movie). But whereas Stoller and Segel did wonders with the formula in 2008’s Forgetting Sarah Marshall, a certain overfamiliarity creeps in long before the going gets rough. Combine that with outright laziness about using the filmmaking to complement the funny—would it kill people to construct a scene that doesn’t just arbitrarily cut away after a punch line?—and the fact that relying on Segel and Blunt’s ample charms alone simply isn’t enough to carry an unnecessarily long, winding story line, and the sense of deflation soon becomes overwhelming. There are two love affairs that are in danger of falling to pieces here, and only one of them is on the screen." - Time Out

"Occasionally, the dialogue in The Five-Year Engagement might sound like something an adult audience member has once thought or uttered. "I wanna be alone with you here," Tom pouts to Violet after they've had a fight, and she gets out of bed to respect his request for momentary solitude. This fleeting acknowledgment of the come-here-go-away dynamic of most romantic relationships serves as the film's most insightful look at attachment at any cost. The rest is much like the doughnuts that Violet uses in a research experiment: stale and not good for you." - Village Voice