She's the One

Edward Burns delivers a thoughtful exploration of relationships, sibling rivalry, and family dynamics in She’s the One. As a writer, director, and star, he deserves credit for crafting a film that is engaging, even if it doesn’t entirely hit the mark.
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Mickey (Ed Burns) and his younger brother Francis (Michael McGlone) have been locked in an unspoken rivalry since childhood. On the surface, Francis seems to have come out on top—he’s a high-earning Wall Street hotshot married to the beautiful Renee (Jennifer Aniston). In contrast, Mickey, a cab driver nursing the wounds of a failed relationship, appears to be stuck in a rut. But things aren’t as perfect as they seem. Francis is secretly having an affair with Heather (Cameron Diaz), who also happens to be Mickey’s ex, while Renee grows increasingly exhausted trying to salvage their strained marriage. Meanwhile, Mickey’s life takes a surprising turn when he meets Hope (Maxine Bahns), a free-spirited waitress, and impulsively marries her.

One of the movie's strongest elements is its portrayal of women. Burns deserves applause for crafting female characters that feel multidimensional, authentic, and, most importantly, relatable. Cameron Diaz commands every scene she’s in, stealing the show with her portrayal of the manipulative yet magnetic Heather. Jennifer Aniston brings quiet strength and vulnerability to her role, proving she’s much more than her sitcom roots. Amanda Peet, though given limited screen time, makes a memorable impression. The only downside here is Maxine Bahns, whose performance is distractingly wooden compared to her co-stars. Her inclusion feels more like a favour than a casting choice, especially given Burns’s history of working with her.
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The male characters, while not quite as nuanced, still offer plenty to talk about. Mike McGlone’s Mickey feels like every alpha male stereotype rolled into one, with all the charm of a used car salesman on a bad day. His over-the-top machismo might wear thin for some viewers, but it serves its purpose in highlighting the familial tension. On the other hand, John Mahoney, as the patriarchal Fitzpatrick, brings a likeable edge to his chauvinistic, conservative character. Mahoney’s natural charm softens the rougher aspects of his role, making him a welcome addition to the cast. Even Edward Burns’s character, though likeable, feels more like a vehicle for the film’s commentary than a fully fleshed-out person.
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While the dialogue is sharp and engaging, it occasionally feels like it’s doing too much of the heavy lifting. On the one hand, it keeps the film lively and entertaining. On the other, it can’t quite mask the lack of depth in some of the characters. Witty banter is great, but it’s not a substitute for fully realized people. However, this doesn’t detract entirely from the film’s overall charm, as the interactions between characters are often captivating, especially in scenes featuring Burns and Diaz.

For a romantic comedy, She’s the One falls short in delivering laugh-out-loud moments or swoon-worthy romance. The humor is subtle, and the romantic elements, while present, don’t leave you with the warm, fuzzy feeling you might expect from the genre. Fans of rom-coms may find themselves wishing for more humour or heart to balance the film’s heavier themes.

Despite its imperfections, She’s the One remains a solid and engaging watch. The performances, particularly from the female cast, elevate the material, and the film’s exploration of relationships and family dynamics feels honest and relatable.