In fact, when the kids head off to summer camp, their parents separate. While Katie, a crossword puzzle creator, stays home and discusses relationships and men with her friends, Rachel (RITA WILSON) and Liza (JULIE HAGERTY), Ben, a novelist, moves out and does the same with his friends, Stan (ROB REINER), Rachel's husband, and Dave (PAUL REISER), his literary agent.

As the two reminisce about both the good and bad times of their relationship, Ben, the optimist, hopes they can get back together. Katie, however, who's succumbed to years of pent-up domestic frustration and irritation over Ben's idiosyncrasies, isn't so sure.

That's especially true since whenever they try to reunite they end up fighting again, and also because she's started seeing Marty (TIM MATHESON), a divorced friend. With Josh and Erin soon returning from camp, Ben and Katie must decide whether they'll give their marriage one more try, and if not, how they'll break the news to their kids.

Yet, after a while and one too many trips to the bottle, the effect just isn't there like it once was. One then becomes comfortable with the bottle, although the familiarity of its good and bad points can become boring and/or downright irritating. Then, sometime after that -- maybe a few years, perhaps many -- the bubbles are gone, what was once intoxicating is now flat, and all that's left is an empty bottle and memories of what it formerly contained and meant to those involved.

Of course not all relationships and marriages go flat or sour like an opened half gallon of milk that's been left out of the fridge. To maintain a healthy relationship, however, those involved must figure out how to resolve a myriad of issues such as who should pick up the kids, whether the toilet seat should be left up or down, and if it's really true that men are from the red planet and women from the one named after the goddess of love and beauty.

That's the point of "The Story of Us," a film detailing the erosion of a marriage not from some sudden or traumatic discovery or revelation (such as an affair), but from the day to day grind of what's supposed to be domestic wedded bliss. As directed by Rob Reiner ("The American President," "The Princess Bride"), the film can be seen as something of a thematic follow-up to his popular romantic comedy, "When Harry Met Sally."

In that film, the couple is trying to figure out whether a friendship can segue into a romance, whereas here the already married couple is more focused on the concept of staying together or not. Interestingly enough (and whether it's intentional or not is unclear), both have couples who directly address the camera at different intervals of the film detailing their views on relationships.

While that's an interesting, albeit not original way to quickly impart character information and back story to the viewer, the effect is also something akin to each party trying to gather allies from their respective genders in the audience. Despite that setup and later buddy/girlfriend sessions, the film -- to its credit -- doesn't turn this completely into a men vs. women spectacle.

With both parties being at fault and hitting enough cross gender issues that most everyone who's ever been in a relationship will be able to identify with, the film plays well to both sexes without turning either side into the villain. As written by Alan Zweibel ("North," co-writer of "Dragnet") and Jessie Nelson ("Corinna, Corinna," co-writer of "Stepmom"), the film not only offers scenes that may hit too close to home for some viewers, but some that are also funny and/or poignant.

Just like the marriage portrayed within it, however, not everything is right with the film. For one, its temporally disjointed structure -- where we see nonlinear flashbacks of past events -- may be effective in showcasing tidbits of the couple's past, but it creates some problems. Although such moments provide for some fun and funny moments -- such as seeing Bruce Willis with long hair -- their purposefully episodic nature and intermixing with current events disrupt the film's pacing.

As such, not only does the overall flow feel disjointed, but that also prevents the characters from fully engaging the audience and the viewer likewise from fully empathizing with them. Instead one is apt to feel like they've spent more time with a highlight reel instead of real people. That's especially true after witnessing some nicely produced and tightly edited musical montage moments that serve as chronological summaries of the relationship.

Another problem concerns the supporting characters. Notwithstanding some funny and clever dialogue and the A-list performers inhabiting the roles (including director Rob Reiner, Paul Reiser, and Rita Wilson), the characters often feel a bit too manufactured instead of coming off as actual flesh and blood beings. For instance, by the time Ben and Katie meet an obnoxious American couple in Venice, it's all too obvious that the stereotypical tourists are present mainly to donate their view of relationships, just like everyone else.

Thankfully, the filmmakers have insured that much of that and other such scenes are enveloped or disguised in funny and entertaining material -- with some sharply written dialogue -- thus softening the blow of being too overt. While it's possible that some may not notice the fact that every character has such a message, others, however, will begin to grow tired of it.

That won’t be the case regarding the central performances from Bruce Willis and Michelle Pfeiffer, though, as they deliver believable, full-bodied characters who keep the film floating above its problems. Willis ("Armageddon," the "Die Hard" films) is having a banner year playing against his stereotypical tough guy persona (the other being his great performance in "The Sixth Sense").

While that may come as a surprise to some, one shouldn't forget that he played light and goofy on the TV show that turned him into a star, "Moonlighting," and he creates a completely credible and compassionate character here.

Pfeiffer ("The Deep End of the Ocean," "A Midsummer Night's Dream") has rarely looked more radiantly gorgeous and likewise delivers a completely believable performance. While her closing monologue may not carry the emotional resonance some would expect and/or want from such a pivotal scene, she's still quite good in the role.

As previously stated, most of the supporting roles feel too contrived, although Jake Sandvig (making his debut) and Colleen Rennison ("Carpool") are convincing as the kids who sense something's amiss. While the likes of Rita Wilson ("Now and Then") get some funny, if raunchy lines, others, such as Julie Hagerty ("Airplane") and Paul Reiser (TV's "Mad About You") simply can't do much with their barely developed characters.

Meanwhile, a six-way bedroom scene -- where Red Buttons, Jayne Meadows, Tom Poston and Betty White play the couple's parents whose past influences affect how Ben and Katie view things in bed -- falls rather flat and clearly doesn't deliver what probably seemed like a good idea on paper.

Like any normal marriage, the film is far from perfect. The pacing is off kilter, some moments and characters are too contrived, and it isn't the deep or probing examination and solution of marital discord that it wants to be.

Yet, for its flaws, you really want it to work out, and the strong performances from its leads, some sharp writing and some truly funny and touching moments are clearly beneficial to the overall proceedings. While it’s possible some may find the whole thing unsavory, most viewers will probably find enough enjoyable and/or entertaining moments in the film that they'll at least be mildly pleased to have seen it. As such, we give "The Story of Us" a 6 out of 10.