Anybody who's seen the promos for "The Break-Up" might be expecting "Wedding Crashers II-Lawyer Jeremy Settles Down." I admit to having anticipated a lame knockoff of Vince Vaughn's irascible performance as Owen Wilson's sidekick. I was also wary of Jennifer Aniston once-too-often reprising the role of unlovable waif, unable to find either happiness or the right man to complete her life. In films like "Rock Star," "Bruce Almighty," "The Good Girl," and "Friends With Money," Aniston seems scarcely able to find happiness or a suitable mate.

In "The Break-Up" Aniston's luck is a little better-for a time anyway. And while there are some similarities with the aforementioned flicks, I'm happy to report that "The Break-Up" is, for the most part, surprisingly clever and articulate, an enjoyably fresh take on the woes of modern-day romance.

Just to get this out of the way: Jennifer looks hot enough to give Brad second thoughts. Yes, I debase myself solely for the tabloid junkies among us. And no, this isn't a fictional account of the Brad and Jennifer story. Thank you, Hollywood, for having a modicum of discretion. So let's put that nonsense behind us and move on.

In "The Break-Up," Vaughn plays Gary, an extroverted Chicago entrepreneur who falls for Brooke (Aniston), a slightly uptight modern-art dealer. One senses right away that these two might not be meant for each other, but they're both cute and charming enough that, okay, it almost seems plausible. We're introduced to their relationship with a montage of happy-time photographs: Brooke and Gary at a party here, at a social gathering there-apparently happy and in love. For a while we're allowed to assume that Brooke and Gary have found bliss.

But there comes a time when their differences are too much. After a particularly nasty argument, Brooke and Gary decide to break up. This is less a pronouncement than the beginning of a game of surly one-upsmanship. Where a simple apology would probably suffice, neither can muster the gumption. Neither Gary nor Brooke are willing to concede this time around-and the animosity escalates.

The hostility in "The BreakUp" is, granted, great fun. Gary is the quintessential adolescent guy's guy-an aging party-hound who's settled down for all the right reasons but who can't quite come to grips with Life After Happy Hour. Brooke's only obsessive-compulsive enough to make her situation sympathetic. They share a swank condo that neither can afford separately, and that neither is willing to give up.

Thus, in the grand tradition of "The War of the Roses," they begin to mount independent campaigns to emotionally torture the other just enough to vacate the premises.

Okay, hardly funny stuff in real life. But the concept's thoroughly entertaining here, never malicious enough to drift from strictly romantic-comedy territory. One has the feeling that Brooke and Gary still love each other but neither has the courage to communicate that particular fact. Lack of interpersonal communication is nothing new in Hollywood-manufactured relationship squabbles, and for those who've seen the shtick once too often, "The Break-Up" will undoubtedly feel aged and familiar. However, I did find this particular effort worthy-the dialogue solid, the story supple enough to avoid most of the stereotypical pitfalls.

There's a subtle truth at play throughout the film: women tend to be calculating and men tend to be stubborn, occasionally childish. Director Peyton Reed wisely doesn't take sides in "The Break-Up." He provides both Gary and Brooke with sufficiently valid arguments.

For those who can handle yet one more rocky romance, this one has the legs to deliver the goods-and a delightfully unexpected ending that I (for one) found quite satisfying.

In a nutshell: If there's room for yet another relationship fable on your cinematic dance card, "The Break-Up" should give you a pleasant enough spin. It's mostly fun, rarely caustic and fresh enough to please even the finicky rom-com fan.