"Lola Versus" is a primer in rich white people problems: living in an improbably spacious New York City loft; getting dumped but still having a relationship with your ex-fiancé, who is, of course, a handsome painter; getting your Ph.D. in "Silence in 19th Century French Literature" while not really having a job; and bemoaning, while implementing, social media such as Facebook, Yelp and texting.
Greta Gerwig is pleasant and amiable enough as almost-30 Lola, who is dumped three weeks before her wedding, then takes her rejection and angst to fuck her friends figuratively and literally, in a world where "men are looking for someone better and women for whatever works."
Co-screenwriter Zoe Lister Jones also plays the requisite wacky female best friend Alice, who provides some of the wittiest moments in the 90-minute comedy, although perhaps she should have been followed by a drummer to provide rim-shots.
In a particularly hilarious meta-theatrical scene, Alice performs in "Pogroms!" an ASL-interpreted "Fiddler on the Roof"-looking play, and asks post-show if she "should have been less Viewpoint-y." She also terms macrobiotic food as "gas in a box."
While they drive the action along, the hipster pop culture references wear thin - "it’s just like Real World Miami" and "I learned how to be a woman by watching ’90210’" - and crowd out the opportunity to actually face being single.
And perhaps that the point of "Lola Versus" - she’s against everything, but doesn’t face up to her own culpability, which includes self-professed sluttiness. She sleeps with male best friend Henry (Hamish Linklaker) and über-creepy Nick (Ebon Moss-Bachrach), before reconnecting with her ex, Luke. The film is pleasant enough, but it’s hard to believe that anybody ever gets, or earns, closure like this.