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Me, Myself & Irene

Me, Myself & Irene

Comedy · 2000

Rhode Island State Trooper Charlie Baileygates has a multiple personality disorder. One personality is crazy and aggressive, while the other is more friendly and laid back. Both of these personalities fall in love with the same woman named Irene after Charlie loses his medication.

Movie details

Me, Myself & Irene

“From gentle to mental.”

2000 Comedy 1h 57m

Critical arithmetic

The consensus, allegedly.

IMDb

6.6 / 10

264K votes

Rotten Tomatoes

47 %

Tomatometer

Metacritic

49 / 100

Metascore

TMDB

6.6 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

Rhode Island State Trooper Charlie Baileygates has a multiple personality disorder. One personality is crazy and aggressive, while the other is more friendly and laid back. Both of these personalities fall in love with the same woman named Irene after Charlie loses his medication.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Me, Myself & Irene?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Peter Farrelly · Bobby Farrelly

Written by

Peter Farrelly · Bobby Farrelly · Mike Cerrone

Jim Carrey

Jim Carrey

Off. Charlie Baileygates / Hank Evans

Renée Zellweger

Renée Zellweger

Irene P. Waters

Anthony Anderson

Anthony Anderson

Jamaal Baileygates

Mongo Brownlee

Mongo Brownlee

Lee Harvey Baileygates

Jerod Mixon

Jerod Mixon

Shante Jr. Baileygates

Chris Cooper

Chris Cooper

Lieutenant Gerke

Michael Bowman

Michael Bowman

Whitey

Court is in session

Put Me, Myself & Irene on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Popcorn Loyalist

“It owes the canon nothing.”

The movie pursues immediacy and audience pleasure without begging institutions to certify its worth.

The prosecution The Arthouse Gremlin

“Easy pleasure, short half-life.”

It moves efficiently through the moment but offers little reason to keep arguing once the credits end.