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Going the Distance

Going the Distance

Comedy · Drama · Romance · 2010

Erin and Garrett are very much in love. When Erin moves to San Francisco to finish her journalism degree and Garrett stays behind in New York to work in the music industry, they gamely keep the romance alive with webcams and frequent-flyer miles. But just when it seems the lovers will soon be reunited, they each score a big break that could separate them for good.

Movie details

Going the Distance

“A comedy about meeting each other halfway.”

2010 Comedy · Drama · Romance 1h 42m

Critical arithmetic

One number, for now.

TMDB

6.1 / 10

Community rating

Erin and Garrett are very much in love. When Erin moves to San Francisco to finish her journalism degree and Garrett stays behind in New York to work in the music industry, they gamely keep the romance alive with webcams and frequent-flyer miles. But just when it seems the lovers will soon be reunited, they each score a big break that could separate them for good.

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 Going the Distance?

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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Where it lives

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Names above the title

The people responsible.

Directed by

Nanette Burstein

Written by

Geoff LaTulippe

Drew Barrymore

Drew Barrymore

Erin Rankin Langford

Justin Long

Justin Long

Garrett Scully

Charlie Day

Charlie Day

Dan Grant

Jason Sudeikis

Jason Sudeikis

Box Saunders

Christina Applegate

Christina Applegate

Corrine Berlin

Ron Livingston

Ron Livingston

Will Broderick

Natalie Morales

Natalie Morales

Brandy

Court is in session

Put Going the Distance 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.