The film consists of five interwoven storylines, with a woman at the center of each:

1 - Jennifer Anniston (the only interesting character in the film) - dating a guy for seven years, driven mad by the fact that he doesn't believe in marriage.

2 - Jennifer Connely - married to a man she forced to marry her, denying him sex, controlling, neurotic.

3 - Drew Barrymore - all she wants is to meet a man, but is frustrated by modern communication.

4 - Ginnifer Goodwin - all she wants is to meet a man, but can't figure out the right way to approach/translate the game of dating. obsessive, neurotic.

5 - Scarlett Johansson - all she wants is a married man / willing participant in homewrecking, stringing along another guy to boost her confidence, insecure.

Women, then, according to this author, exist just to get married, and are willing to do anything to make it happen. They all define their self-worth by the relationship they're in (or seeking desperately), and are either thirsty for control, obsessive or neurotic (most are more than one of these).  Quite a lovely portrait; it’s no wonder females across the nation are supporting this film rather than the infinitely-superior romance that made 20% what this cleared - Last Chance Harvey.

Oh, and never fear folks, the film's just as insulting of men...  It seems we are all afraid of commitment, cheaters, liars, and willing to sell our principles for the sake of a good soundtrack or lay.

WARNING - Spoilers below

Jennifer Aniston being the only character that had any real arc, let's focus on her...  Her character has a really promising revelation toward the end of the film which was poised to make an interesting statement and tie into the advertised theme.  After leaving her boyfriend (who won’t marry her because he doesn’t believe in marriage), she finds herself thrown into her father's house - and is surrounded by a bunch of married couples. She concludes that these men, while they offer "real" commitment (marriage), have nothing of worth to offer her as an individual. A light bulb goes off; the (marriage-less) commitment that Ben Affleck has to offer is greater than any silly cultural norm (a ring that guarantees nothing, as Jennifer Connely's story proved). This was a great message, and in line with everything the film pretended to preach (that all the fairy tales little girls have their heads filled with from birth can set unrealistic expectations).

But they couldn't leave well enough alone. Two scenes after Aniston accepts her lover's principles, accepts her own individuality, they had to give her the bullshit “happily ever after” moment - the proposal, the sun-drenched wedding.  In this moment, the film took a steaming dump upon its own theme, and insulted everyone in the audience.

Let it be known, those eager to dismiss my (male) opinion on this one, that I believe firmly in quality within genre.  That is, there are brilliantly told romantic comedies that I adore, despite their title as “chick flicks.”  This just isn’t one of them...