Follows a pair of married couples, Alfie (Hopkins) and Helena (Jones), and their daughter Sally (Watts) and husband Roy (Brolin), as their passions, ambitions, and anxieties lead them into trouble and out of their minds. After Alfie leaves Helena to pursue his lost youth and a free-spirited call girl named Charmaine (Punch), Helena abandons rationality and surrenders her life to the loopy advice of a charlatan fortune teller. Unhappy in her marriage, Sally develops a crush on her handsome art gallery owner boss, Greg (Banderas), while Roy, a novelist nervously awaiting the response to his latest manuscript, becomes moonstruck over Dia (Pinto), a mystery woman who catches his gaze through a nearby window.
Emeryville: population 73,250, including one feared serial killer on the loose who carves the number 13 into his victims’ chests. Sara is home alone on a stormy night when there is a knock at the door. Andrew, a real estate consultant, has stopped by regarding the sale of her house. Problem is, the house isn’t for sale. Against her better judgment, she grants Andrew shelter from the rain. But tension builds as Andrew, talking about his impending custody battle for his daughter, becomes more and more agitated. Sara finds herself in possible peril, until there is another knock at the door. John, a scripture-quoting home security technician, has stopped by to fix a fuse. But he may not be all he seems when a knife is found in his bag.
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The story begins when Macbeth (Sam Worthington), a loyal henchman, is rewarded with gifts from his crime boss Duncan (Gary Sweet) for serving him faithfully and performing bravely in a vicious gangland rip-off. But these gifts are nothing compared to what Duncan lavishes on his son Malcolm (Matt Doran). Macbeth wonders why he bothers to stick his neck out when Malcolm does nothing at all.
Becky (Rachel McAdams) is a hard-working morning TV show producer, or at least she was until she got fired. Desperate to get a job, she finally gets an interview with Jerry (Jeff Goldblum) - who is desperate to hire a producer for the struggling show "Daybreak". Becky accepts the job and it proves to be more difficult than even she might be able to handle. She has to fire the sexist co-host, then try to convince egotistical news reporter, Mike Pomeroy (Harrison Ford), to take the job, and then try and get him to actually do the job, properly. And she has to do this while falling for handsome Adam (Patrick Wilson), and trying to save the show from plummeting ratings. Will Becky be able to hold on to her dream job and her sanity?
Peter Gray (James LeGros) is a brilliant celebrity chef who has spent the better part of his career espousing the benefits of fresh, local, and sustainable foods (many of which he hunts and harvests himself). Since the economic collapse, however, his pretentious and preachy style has fallen out of favor, putting his cable television series, Feast, on the brink of cancellation, and jeopardizing his lucrative deal with restaurant magnate, Gordon (played rather convincingly by real-life celebrity chef, Mario Batali), who has banked on the Peter’s series’ success by hiring him as the executive chef of a restaurant named after it.
Every Day takes a close look at the ordinariness of a family: the stresses of his awful job, her juggling a floundering career and motherhood against being a reluctant caregiver to a father she doesn’t entirely love.
Liev Schrieber’s Ned, a disgruntled scriptwriter who works long hours and feels tempted into infidelity, is theoretically the dramatic focal point of the film, in an emotional evolution that might draw comparisons to Kevin Spacey’s turn in American Beauty. And there are certain elements of the plot that might have followed that mold of suburban misery masquerading as art. Deft touches of warmth and humor in the right places lend realism and balance, making the honesty of this ordinary story inviting. But the magnetic and emotionally forthright performances from Helen Hunt and Brian Dennehy make their characters the ones to watch. Crackling with equal parts anger and love for her family, Helen Hunt’s performance as Jeannie—stressed wife, mother, daughter—captures the emotional subtleties required by such a demanding role. Jeannie is trying to do right by a father, she quips, “has been depressed since the Fifties.” She’s pulled away from him by the needs of her husband and two sons: a teenager who’s exploring his homosexuality and an elementary schooler who plays the violin and asks anxiously thoughtful questions about where people go when they die. Immersed in the work of keeping her family together, she’s a foil for her dubious husband.
