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The Rebound

The Rebound

Romance · Comedy · 2009

Upon discovering her husband's infidelity, Sandy leaves the suburbs and moves into the city. There, she befriends Aram, a guy whose wife only married him so she could get a green card. Sandy hires Aram to be her nanny, and it isn't long until Aram and Sandy find out they get along wonderfully and start to date. But is their relationship real or is it, in fact, just a rebound for both of them?

Movie details

The Rebound

“She's still got it. He's just getting it.”

2009 Romance · Comedy 1h 35m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

Upon discovering her husband's infidelity, Sandy leaves the suburbs and moves into the city. There, she befriends Aram, a guy whose wife only married him so she could get a green card. Sandy hires Aram to be her nanny, and it isn't long until Aram and Sandy find out they get along wonderfully and start to date. But is their relationship real or is it, in fact, just a rebound for both of them?

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 The Rebound?

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

Bart Freundlich

Written by

Bart Freundlich

Catherine Zeta-Jones

Catherine Zeta-Jones

Sandy

Justin Bartha

Justin Bartha

Aram Finklestein

Art Garfunkel

Art Garfunkel

Harry Finklestein

Joanna Gleason

Joanna Gleason

Roberta Finklestein

Lynn Whitfield

Lynn Whitfield

Laura Reilly

Andrew Cherry

Andrew Cherry

Frank Jr. (Age 7)

Kate Jennings Grant

Kate Jennings Grant

Daphne

Court is in session

Put The Rebound on trial.

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

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.