Emily (Blake Lively) is effortlessly cool and glamourous. She works a high-profile job in the city and has a handsome husband and an air of mystery. No one is more surprised than Stephanie (Anna Kendrick), a single mom and mommy blogger, when Emily befriends her. Their boys are friendly in school and now the mums are friendly over martinis.
But just weeks after an unlikely friendship blossoms between Emily and Stephanie, Emily calls her with a request for a simple favor: a work emergency has popped up, could Stephanie pick up her son from school? Two days later, the son is still in Stephanie’s care, and no one had heard from Emily.
As the investigation into Emily’s disappearance deepens, Emily’s secrets unravel. Her husband Sean (Henry Golding) is very revealing. Turns out, Emily was a pathological liar and her past was very closely guarded. Stephanie doesn’t know what to think about her friend, but her doubts don’t exactly stop her from getting cozy with Sean…and eventually moving right in. Which seems like a bitch move from a grieving best friend, but then, the recent widower isn’t exactly objecting. Why is Sean not objecting?
Anna Kendrick is very good at being a pathetic loser, and Blake Lively is extraordinary at being a clotheshorse. This movie is exceedingly stylish. Blake Lively’s menswear-inspired wardrobe is to die for, but I swear I’m not the one who killed her. But no matter how you dress this thing up, it’s no Gone Girl, but that’s exactly what it wants you to mistake it for. Unfortunately, it can’t quite embrace any one genre. It often looks noir but goes for the easy laugh. Which one is it, truly? I admire that Kevin Feig went for a blend of both, but I don’t think he quite pulled it off. However, if you’re a fan of the Kendrick-Lively duo, they’ve never been Livelier or more Kendricky. They each know their strengths, and Feig gives them a beautiful stage on which to drip their special sauces.