The lives of several couples and singles in New York intertwine over the course of New Year’s Eve.
“A fairly blatant attempt to duplicate the success of Valentine’s Day, New Year’s Eve explores the title holiday as seen through the eyes of many, many disparate characters – including a scrappy bike messenger (Zac Efron’s Paul), a disillusioned hipster (Ashton Kutcher’s Randy), a dying photojournalist (Robert De Niro’s Stan), and a beleaguered chef (Katherine Heigl’s Laura). It goes without saying, obviously, that New Year’s Eve generally unfolds as one might’ve expected, with the lack of originality or innovation ensuring that the various storylines, for the most part, resolve themselves in a decidedly predictable manner – yet, to be fair, scripter Katherine Fugate does toss in a handful of surprises towards the end (eg Stan’s unforeseen relationship with one of the central characters).”
– Daivd Nusair (Reel Film Reviews)
“Despite Marshall’s prodigious organizational skills (imagine juggling all those schedules!), the film feels chopped together in a near-panic. Dialogue is dubbed into non-moving mouths, actors fumble with their props and nobody remembered to make Manhattan look even slightly wintry (Kutcher saunters through Times Square in flannel pajamas). “New Year’s Eve” is a perfect example of why the adjective “Hollywood” is so often used as a pejorative.”
– Rafer Guzman (News Day)
“But this wasn’t really a film. It was really a collection of words and pictures that had escaped from a greetings card factory. And not a very good greetings card factory either. Oh no. This film had escaped from the kind of greetings card factory that makes the type of greetings card you might think about buying because they’re so bad it’s almost funny, but then at the last moment, you have to put them back on the shelf because they’re really just so bad.”
– Catherine Bray (Film4)
Tess: “We were kinda wondering if we could schedule a c-section, ya know? get this thing on the road, am I right?”