Review by Cole Groth Sitting in Bars with Cake is an uncommonly somber dramedy. Starring Yara Shahidi as Jane, a shy baker, and Odessa A'zion as her vivacious best friend Corinne, the movie ventures into the world of 'cakebarring' – an eccentric activity involving baking cakes and taking them to bars in search of love. However, what starts as a lighthearted quest for romance takes a somber turn when Corinne is diagnosed with cancer, and the film delves into the complexities of their friendship throughout a challenging year. As advertised, the film’s plot initially sets it up as a romantic comedy with a quirky twist. The odd concept of 'cakebarring' adds a unique and humorous touch to the story, with moments of genuine laughter as Jane and Corinne navigate the world of dating. However, what truly distinguishes this film is its willingness to deviate from the conventional rom-com formula. Instead of sticking to the light-hearted and predictable path, it takes a darker and more emotionally challenging route. For those who expect a traditional rom-com experience, including myself, the unexpected shift in tone is a jarring one. While the humor remains consistent throughout the film, it is juxtaposed with the harsh realities of life, particularly Corinne's cancer diagnosis. This bold narrative choice sets it apart from the typical rom-com, as it delves into deeper and more profound themes of friendship, resilience, and coping with adversity. Yara Shahidi and Odessa A'zion's performances in the film truly stand out. Shahidi's portrayal of Jane is both endearing and relatable, capturing the essence of a shy and introverted woman thrust into a world of socializing. Her journey of self-discovery and personal growth is heartwarming as she learns to step out of her comfort zone in the pursuit of love and companionship. A'zion, as Corinne, brings vibrancy and energy to the screen, making her a charismatic and lovable character. Their on-screen chemistry is undeniable, and their friendship is the emotional anchor of the film.
Unfortunately, the film's biggest issue is its pacing, partially due to it clocking in at a strangely long two-hour runtime. What starts out as a 90-minute dramedy turns into a too-dark 120-minute slog. Plenty of scenes could’ve, and should’ve, been left on the cutting room floor. Fans of the book by Audrey Shulman will no doubt enjoy this depth, but it isn’t good enough to warrant the length. Sitting in Bars with Cake might be too heavy of an emotional gut punch, but Trish Sie’s direction makes it feel fairly satisfying. Shahidi and A’zion’s terrific performances anchor the film’s emotional core, keeping the long runtime from feeling like too much of an issue. It ultimately delivers a poignant exploration of friendship, love, and life's unpredictable challenges, offering a thoughtful take on the complexities of human relationships. Sitting in Bars with Cake releases on Amazon Prime on September 8. Rating: 3.5/5
1 Comment
ERNEST & CELESTINE: A TRIP TO GIBBERITIA -- Delightful Animated Sequel is Great Family Viewing9/1/2023 Review by Cole Groth 2023 has put a spotlight on animated movies in a major way. The creative stylings of Spider-Man: Across the Spider-Verse and Teenage Mutant Ninja Turtles: Mutant Mayhem suggest a turning point from the familiar Disney/Pixar style, which continues to struggle. Not to be overlooked in this wave is Ernest & Celestine: A Trip To Gibberitia, a beautifully animated and charming sequel to the Oscar-nominated Ernest & Celestine. This sequel is full of the charm that made the movie so great and sports a poignant lesson. If you haven’t had the pleasure of watching the first film yet, don’t worry! This sequel requires no previous viewing. We pick off with Ernest (Lambert Wilson) and Celestine (Pauline Brunner), the lovable duo of a gruff grizzly bear and an energetic mouse. After Ernest’s cherished violin is accidentally destroyed by Celestine, the two venture to his hometown. Upon arriving, they realize that music has been banned throughout their country, leading to an adventure where the two attempt to restore this joy. Like the first film, this is a gorgeous animated experience. It’s illustrated just like a children’s book, with pastels bursting off the screen. It’s creatively rich and is a treat for the senses. Ernest and Celestine have terrific character designs and perfectly embody a childlike sense of wonder. There are plenty of notable adventure sequences — each more fun than the last. One of the film's remarkable strengths lies in its attention to detail. The world of Gibberitia is a visual feast, showcasing imaginative landscapes and imaginative architecture that spark the imagination of viewers young and old. The animation style remains consistent with the first film, yet it also exhibits a growth in sophistication, demonstrating the creative team's dedication to refining their craft. The music, despite being a central theme, isn't just a plot device; it becomes a character in itself, enhancing the emotional resonance of the narrative.
A Trip to Gibberitia is fun for both children and adults alike. Children will be entranced by the cute characters and briskly paced scenes, and adults will enjoy that the story never feels childish. It has a prescient message against fascism, which it tackles with sensitivity and great writing. The story is simple and perhaps too short, but it’s still a fun enough time that it’ll leave you with a smile on your face. Ernest & Celestine: A Trip To Gibberitia cements itself as an essential addition to the world of animated cinema. Its ability to transcend age boundaries and deliver a heartwarming tale with profound themes is a testament to its storytelling prowess. The film's visual splendor — coupled with its endearing characters — guarantees a delightful cinematic experience for families and animation enthusiasts alike. Whether you're seeking a charming adventure, a poignant lesson, or simply an escape into a beautifully crafted world, this sequel delivers it all. Ernest and Celestine's journey is a reminder that the power of friendship, music, and perseverance can triumph even in the face of adversity. Sure, it’s a little big cheesy, but works at every turn. So, grab your loved ones and embark on this enchanting journey; it's a trip you won't want to miss. Ernest & Celestine: A Trip to Gibberitia releases in theaters on September 1. Rating: 4.5/5 Review by Cole Groth Clay Tarver’s Vacation Friends debuted on Hulu on August 27, 2021. Receiving mixed reviews from critics and simply decent viewership, it’s surprising that a sequel was written, shot, and released less than two years later. Vacation Friends 2 won’t win over fans of the first film, and while it’s a step down from the laughable chaos of the original, there’s still plenty of fun to be found in this buddy comedy. Picking up shortly after the first film, we’re back with the familiar crew of the straight-faced Marcus (Lil Rel Howery) and Emily (Yvonne Orji), and the wild cards Ron (John Cena) and Kyla (Meredith Hagner). From the first movie, Maurillio (Carlos Santos) is back in more of a consistent supporting role. After being married in the previous film, Marcus and Emily invite Ron and Kyla to join them on their honeymoon. All hell breaks loose when Kyla’s father, Reese (Steve Buscemi), shows up and takes them on a crime-fueled spree — all while Marcus and Kyla are trying to have a child of their own. The immediate problem with this is that the core four are pretty much the same, just exaggerated a bit from before. Without the absurd five writers of the first film, Clay Tarver finds himself alone writing the screenplay, and he’s not quite able to flesh out anybody here. Sequels to simple films like this rely heavily on the characters becoming more complicated than before, and they’re mostly stagnant. Kyla is more obnoxious than last time, but everybody else is the same. Reese is a fun supporting character, but doesn’t stand out as feeling original. Vacation Friends 2 offers up fewer laughs than its predecessor, simply because a lot of the jokes have already been done. If you’re a fan of high-intensity screaming and swearing, you’ll find this funny. John Cena is a treat, as he always is, and Meredith Hagner has tons of energy. It’s a perfect movie to put on if you need an easy laugh and don’t want to absorb a lot. Everything moves at a predictable pace, and it’s quick enough to still be enjoyable.
Looking at this from a technical level, there’s nothing too special here. Tarver’s direction is fine. He doesn’t stand out as someone with any style, and a comedy like this needs style to make it more interesting. The cinematography and special effects are a notable step up from the first, which was plagued with a bizarre number of bad VFX shots. Again, this isn’t the type of movie that requires much thinking, so none of the production elements stand out as anything more than fine. Of all the movies to receive accelerated sequels, Vacation Friends probably wasn’t the best property for 20th Century to push forward with. This second outing isn’t as good as before, and this duology feels better suited for a one-off experience. That being said, it’s far from an unenjoyable time. If we ever get a Vacation Friends 3, the best thing for it would be to try something new. There’s some real potential with the crazy bunch of Marcus, Emily, Ron, and Kyla, and perhaps they’ll be up to something more interesting in 2025 if this becomes a trilogy. Vacation Friends 2 releases on Hulu on August 25. Rating: 3/5 Review by Cole Groth Thoroughbreds director Cory Finley is no stranger to weird high school movies. His latest, Landscape with Invisible Hand, is perhaps the hardest to decipher. An unusual trailer was the first piece of media that brought this film to my attention, and the original premise left me excited for more. Crossing various genres — including sci-fi, drama, romance, and comedy — it’s a multifaceted experience that’s undeniably original and worth a watch. The many twists and turns of Landscape won’t be explained in this review. They’re much better seen and interpreted with your own eyes. To put it simply, this film takes place in a world taken over by benevolent aliens. After the technology they broke rendered most human jobs obsolete, two teenagers begin live-streaming a manufactured romance with the aliens in a desperate bid to make cash for their families. The relationships between the teenagers, families, and aliens are all explored in this vast story. The script, penned by Finley, is an absolute powerhouse of indie science fiction. It’s very creative and manages to be quirky, while avoiding the traps of other films like this by not being annoying. There’s a real skill required to write many of the scenes contained within Landscape. Finley’s script contains multilayered people with realistic dialogue and depth. It’s full of rich satire that feels particularly poignant, with Finley continuing to prove his screenwriting prowess. The heart of the film lies with Asante Blackk’s powerhouse performance. Blackk is a terrific leading man and will have a successful career ahead of him if he continues to act this well. He’s joined by Kylie Rogers, who’s also great. The two have a powerful dynamic with plenty of angst, chemistry, and friendship. They’re both complex characters, written and performed well. Joining the two leads are Tiffany Haddish and Josh Hamilton as Blackk and Rogers' characters' parents. Haddish has continued to build into more complex roles in the previous years and continues to thrive. Hamilton is excellent, too. Michael Gandolfini, Brooklynn MacKinzie, and William Jackson Harper appear in smaller roles, and all kill it as well. All around, this cast is stacked.
One of the unexpected standouts of Landscape With Invisible Hand is the score. Composed by Michael Abels, the music works wonders toward the overall feeling of the film. It’s synthy, funny, and dramatic. Like the film itself, it’s full of whimsy and complexity. The repeating motifs are fun to listen to, and make this stand out as one of the best-composed indie films recently. Other technical aspects are great, too. It’s well-lit, edited well, and has great visual effects. Landscape with Invisible Hand is a movie best experienced blindly. It’s easily one of the most creative films of the year, and will leave you thinking. While its quirks are occasionally a bit overpowering of the ultimate message, Finley’s direction is assured, and continues to show his talents as a filmmaker. With a fantastic cast, good music, a strong script, and great pacing, this is deserving of a watch for anybody looking for a good, original movie. Landscape with Invisible Hand releases in theaters starting August 18. Rating: 4/5 Review by Cole Groth Cybersecurity is the biggest issue facing the planet, at least according to director Daniel Gordon. With all of our lives revolving around a digital medium, it’s important to consider how safe the devices we use are. Focusing on the story of a daring cyber heist, Billion Dollar Heist won’t live up to its name, but it will inspire interesting thoughts about how we use technology. The Bangladeshi Central Bank theft is an excellent choice for a documentary subject. It’s a story full of twists and turns, political and social commentary, as well as teachable lessons. Back in 2016, a group of hackers were successful in a large-scale robbery of the Bangladeshi Bank. They were able to steal tens of millions of dollars, and unlike heists in the past, this one was purely online. The documentary tells this story in a great way. We slowly learn new details as new issues are brought up, making it a riveting, constantly unfolding adventure. While the heist might be interesting, there’s a big problem here: it wasn’t a billion-dollar heist at all. While the attackers were trying to get an amount around (but not at) a billion, they failed to get even a quarter of that. While it’s still a large sum of money and still an interesting story, there’s something frustrating about almost being lied to by the title. This would've been much better if it chose a title that not only focused on the heist, but the technological developments it discusses as well. There are some fascinating points about how modern hacking affects our world and how cyber-security is important, but the title only points to one of those points.
Technically, this is a very well-made documentary. The editing is nice. The music is interesting. The subjects are well-lit. You’ll have no qualms about the way it’s been produced. That being said, there’s always something keeping this back from being excellent. It doesn’t feel particularly innovative, so this isn’t something that will stand out as particularly worthy of a watch. Billion Dollar Heist tells a good story and is prescient. As far as documentaries go, this is about as average as you can get. It’ll be something cool to listen to, but has the memorability of an average PBS broadcast. Media now demands to be bigger and better than everything else. While this is a good documentary overall, it simply doesn’t stand out that well. If you’re a technology buff or love documentaries, this is your cup of tea. Otherwise, it’s just fine. Billion Dollar Heist releases on VOD on August 15. Rating: 3/5 Review by Cole Groth A few years ago, Universal unleashed its own cinematic universe. Remember it? The Dark Universe was a planned series of classic monsters meant to come together in a nightmarish MCU-type world. When Tom Cruise’s The Mummy bombed, the whole thing was scrapped. Years later, Universal is looking to keep the general premise — classic monster stories reimagined — and while the rollout is bizarre, the films produced so far (The Invisible Man, Renfield, and now The Last Voyage of the Demeter), have all been decent. With a fantastic look and intense scares, Demeter will wow horror fans dying for a good vampire movie. For general audiences, this might be a slow and far-too-dour adventure. Taking place over a single chapter of Bram Stoker’s horror classic Dracula, Demeter follows the doomed crew of a ship transporting mysterious cargo containing the terrifying Count Dracula and the bloodshed that befalls as he continues to feed. From the introduction of the characters to the bitter end, the film, written by Bragi Schut Jr. & Zak Olkewicz, operates on a familiar level. Dracula kills. People try to defeat him. Whatever preconceived notions you have of the story going into it won’t be broken, but for most, that’s perfectly fine. From a cinematic perspective, this is one great-looking movie. There’s not a moment where the immersion is broken. Tom Stern’s fantastic cinematography and the perfect set design draw you straight into the terrifying ship ride. For a movie that’s so visually dark, there are few moments where it feels like a struggle (at least unintentionally). While it shouldn’t have to be considered high praise, in 2023, it’s satisfying to see a movie that never once feels like CGI. It looks like most of the work was done practically, and whatever stuff was composited is seamless. If you’re looking for gore, Demeter will satisfy. Continuing with the praise of how good this looks, the special effects of each of Dracula’s kills are very well done. It’s unsettling to watch characters get viciously maimed by Dracula — it’s hard not to be impressed with how accurate it looks. You’ll undoubtedly squirm unless you’re desensitized to gore, but fortunately, it doesn’t feel too over the top, like a Saw movie.
The cast is yet another great part of the film, led by an excellent Corey Hawkins. David Dastmalchian continues to prove he’s one of the best character actors working today. He is surrounded by a cast of talented actors in Aisling Franciosi, Liam Cunningham, Chris Walley, Woody Norman, and others. Each character feels fully immersive and adds to overall praise I have to offer of the production. As it stands, The Last Voyage of the Demeter is a beautifully shot, well-acted, terrifying new fantasy/horror film. It’s a shame that it drags at specific points, though, because it would certainly be more entertaining if it weren’t 2 hours long. That, combined with its general predictability, makes it sometimes feel like a bit of a slog. While this won’t rise to the list as the best horror movie of the year, it’s far from bad. Society loves to hyperbolize films as being the best or the worst, and films like this should remind us that sometimes we need movies that are just good. The Last Voyage of the Demeter releases in theaters starting August 11. Rating: 3.5/5 Review by Cole Groth Netflix’s latest animation, The Monkey King, is frankly pretty forgettable. From the opening frame, any expectations I had going into it were smoothed out, as the cheap-looking animation is immediately present. A by-the-numbers fantasy story keeps this from feeling like anything special, but it’s at least fun enough while watching to leave a positive, if faint, impression. With an all-star Asian cast featuring the voices of Jimmy O. Yang, Bowen Yang, Jo Kay, BD Wong, and Stephanie Hsu, The Monkey King tells the story of a super-powered monkey trying to climb his way up to status as an Immortal. Unfortunately for him, an evil water dragon seeks to thwart his quest, forcing the monkey to overcome his weaknesses on an epic adventure. Clearly, this plot isn’t anything special. If you’ve seen one of these fantasy/adventure movies, you’ll be well aware of all the beats here. Thankfully, like those movies, this one is satisfying. It’s hard to not have fun as the story progresses, and it’s clear that this will succeed with families. The Monkey King’s biggest weakness is easily its animation. There’s something unsettling about the smooth skin of every character and the intense elasticity of their animations. There’s a sequence where the animation shifts from 3D to 2D, and it almost feels like it shouldn’t have been included because it shows what we could’ve gotten: style. The studio behind this, Pearl Studio, is responsible for a string of well-received animated movies, including Kung Fu Panda 3, Abominable, and Over the Moon. Still, this lacks any defined vision and will struggle to stand out among other outsourced animated films. Looking past the technical elements, there are tons of hilarious moments that children will enjoy. Jimmy O. Yang and Bowen Yang bring a lot to their performances and use their comedic talents to give their characters life. Jolie Jiang-Rappaport’s performance as Lin is pretty remarkable as a debut voice-acting performance as well. Her character of Lin gives a lot of necessary balance to a story that would otherwise feel completely one note. The script is pretty funny, and it all moves at a fast enough pace to keep this from feeling like a slog.
Netflix has to shovel content out to the masses, and with their style being more focused on quantity over quality, stuff like The Monkey King ends up rising to the top. That’s not a great thing. Films like these are missing a spark and beg to have a true purpose. This has the workings of a decent movie, bar the cheap animation, but it doesn’t feel like it has any central vision, moving along at a series of pre-defined beats without a true reason to exist. For each serious criticism I have for The Monkey King, there are a few minor positives. While the individual pieces that make this up are a mixed bag on their own, this is certainly good more often than it’s bad. At worst, it’s inoffensive, poorly-animated, and quick. At best, it’s a fun time with good jokes, solid voice acting, and a great pace. This won’t stand out as the best of the year, but if Netflix needs to churn out dozens of films a year, at least films like these aren’t awful. The Monkey King releases on Netflix on August 18. Rating: 3/5 RUBY GILLMAN, TEENAGE KRAKEN -- Dreamworks Flounders With a Frustratingly Annoying New Film6/26/2023 Review by Cole Groth Ruby Gillman, Teenage Kraken is one of those films bound to fail. There’s virtually no buzz for the latest Dreamworks film, and while Warner Bros. and Disney struggle at the box office with The Flash and Elemental, Universal seems eager to group up with them. Business isn’t everything, but it’s hard to feel bad for a film failing when it’s as annoying as this. While families with low expectations will find a fun way to spend 91 minutes, anybody expecting something on the level of Puss in Boots: The Last Wish will be sorely disappointed as Dreamworks misses the mark. Ruby Gillman, Teenage Kraken tells the story of Ruby Gillman (Lana Condor), a teenage Kraken. While Ruby tries to live her life as an ordinary girl, she holds a dark secret: she’s secretly a Kraken with the ability to transform into a “giant Kraken” (“giant” is repeated many times throughout the film for no real reason). Her blueness and slimy appearance as a sea creature are conveniently explained early on in the film — her family is Canadian. Imagine Turning Red if the animation was worse, the characters more annoying, and the story more derivative. After befriending a mermaid, Ruby begins to go against her family’s wishes as she forges her own destiny. What follows is a journey of self-discovery, sea exploration, and coming-of-age hijinks. This story has been played out many times before, and while this doesn’t miss any of the regular beats, it doesn’t add much, either. The conflict between Ruby and her mother is a generically manufactured conflict that isn’t written well enough to fit. Ruby makes so many stupid decisions throughout this, and while it can be explained away as her being a fifteen-year-old, that’s not a good enough excuse. Since voice actors can’t get work in major animated movies anymore, we’ve got an extensive lineup of celebrities working on this project. Lana Condor kills it as Ruby. She brings the awkward energy of her character to life and never feels as annoying as she could be. Her type of character is overplayed in animated movies, but Condor gives a solid performance and shows prowess as a voice actress. Toni Collette is an unbelievably talented actress whose skills translate easily to her performance as Agatha, Ruby’s mom. Jane Fonda plays Ruby’s grandmother and has a great dynamic between Condor and Collette. Annie Murphy is decent as a mermaid with unrealized intentions but isn’t written well, making her voice-acting skills mute. Sam Richardson and Will Forte play obnoxious characters but are funny enough to deserve praise. Colman Domingo and Jaboukie Young-White leave something to be desired in their performances but do a decent job otherwise. While Condor, Collette, and Fonda do a particularly good job, most of it goes to waste through the black hole of talent that is Liza Koshy. Koshy plays the role of Margot, Ruby’s best friend. Margot fills the space as the generic representation for Dreamworks, who has a throwaway line about being a lesbian, which can easily be cut for foreign markets to maintain whatever box office potential this could have. As a 15-year-old girl, Margot is simply unbelievable, spewing lines of dialogue that sound nothing like a teenager. It’s unhelpful that Koshy gives the most ear-grating performance in an animated movie of all time. It is genuinely Razzie-worthy how annoyingly unbearable she is to listen to. Whoever stupidly believed that Koshy would be the best fit should be fired.
While not annoying as Koshy’s performance, the character design is not much better. Ruby and the rest of her Kraken family are adorably animated and have the fluidity needed to stand out in the crowd. As it comes to the human characters, this falls flat. There’s not an appealing face to look at in the sea of people. It’s all reminiscent of the ugly design of characters in Kroger commercials: weird blob structure, bad proportions, and terrible hair. It’s disappointing because they knocked it out of the park with the main characters, so why does everybody else have to look awful? One of the more egregious studio decisions behind this is the excessive use of licensed music. Plenty of scenes could’ve been enhanced through the use of Stephanie Economous’s score. Instead, 30-second snippets of pop music fill nearly every gap. Many of these songs don’t fit, and most of them interrupt the mood. Universal seems to have a big problem with this, with The Super Mario Bros. Movie having a solid score undermined by an atrocious overuse of pop music. While Ruby Gillman, Teenage Kraken hits the comfortable notes of this type of animated family comedy, it’s a shame that this couldn’t be better. Dreamworks has tried something original and interesting, but bad behind-the-scenes decisions and an annoying tone bog it down. It’s painfully generic, and although kids will enjoy this, is it too much to ask for kids’ entertainment to be better? There’s not much substance for adults beyond a somewhat visually exciting action/adventure. Before this movie, Dreamworks played their new logo, which highlights the countless iconic characters they’ve created. Unfortunately, Ruby Gillman feels destined to fade into the darkness, as this mediocre entry for the studio won’t leave much of an impression. Ruby Gillman, Teenage Kraken releases in theaters starting June 30. Rating: 2/5 Review by Cole Groth Politics have taken a nauseating turn in the last few years from an easy point of discussion to a minefield of controversy. With American society so divided in recent years, political satires have become both a necessity and an increasingly frustrating genre of film. Despite his best efforts, co-writer and director David Stassen has created a political mockumentary that takes the easy way out. It’s too safe to be impactful and too often unbearable to look at, making this a frequently regrettable watch. In Maximum Truth, co-writer and star Ike Barinholtz leads as a political grifter, Rick, who teams up with a douchey friend (Dylan O’Brien) to take down a highly popular candidate in a local race. As Rick desperately searches for dirt, he finds himself digging his own political grave, the results of which are revealed as soon as the movie begins. Then, we sit through 90 minutes of chaos as the most pathetic politician alive fails at everything he does. While the premise seems interesting at first glance, it doesn’t go in many interesting directions beyond a tagline. Stassen and Barinholtz thinly veil their political critiques of the GOP without mentioning the party by name. If their goal was to not offend one side, it wouldn’t work, and without naming any specifics, it feels like they’re trying too hard to win over both sides. In the cutthroat world of politics, you can’t expect to win them all, a lesson sorely missed by the screenplay. While the script is disappointing, the large cast is a well-assembled group. Barinholtz is a great lead, exuding patheticness in every scene. Joined by a chaotically scummy Dylan O’Brien, the two play a fun, if mostly grating, duo. A fantastic group of actors, including Beth Grant, Andrew Friedman, Kiernan Shipka, and Max Minghella, fill out more minor roles. For the most part, their characters stand out as fun notes.
It’s unfortunate that, given a talented group behind the scenes, the final product is so frustrating. Maximum Truth operates in an annoying subgenre of cringe comedy. Nearly every scene pushes the boundaries of how pathetic Rick can get, and by the end, the embarrassment of his actions is downright depressing. Cringe comedies need an extra amount of laughs to make up for the uncomfortable feeling, but the balance is off here, so it’s an all-around muddled experience. For those who don’t mind feeling uncomfortable for prolonged periods of time, there are enough good jokes to keep Maximum Truth from being a total waste of time. With a few more revisions on the screenplay, there’s probably a solid satire to be found. Unfortunately, this is the finished product, and it’s a bit of a mess. Maximum Truth is now in theaters and on VOD. Rating: 2/5 NO HARD FEELINGS -- Jennifer Lawrence and Andrew Barth Feldman Stun in Perfect Raunchy Comedy6/21/2023 Review by Cole Groth There’s a moment in No Hard Feelings where a man sticks his penis into a Chinese finger trap, tricking Jennifer Lawrence’s character, Maddie, into putting her finger on the other side. It’s a funny moment, playing off of an earlier moment shared between Maddie and Andrew Barth Feldman’s Percy. Beyond being a funny moment of shock humor, it becomes one of many scenes that are equally funny and sentimental. Dozens of rom-coms release every year, but few demand your attention as well as this one does. No Hard Feelings stands out as not only one of the best rom-coms of the year but one of the best comedies of the 2020s. Set in New York, this film follows Maddie, a struggling 32-year-old Uber driver facing bankruptcy after having her car repossessed. In a desperate attempt to get a Buick, Maddie accepts an offer on Craigslist to “date” the 19-year-old son of two wealthy parents (Matthew Broderick and Laura Benanti). Over the course of several days, Maddie does everything she can to court Percy, taking herself along some embarrassing lows and surprising emotional highs. Maddie has lived in her New York home for her entire life. With the rising taxes brought upon by rich neighbors moving to her neighborhood, she’s no longer able to afford the life she’s always lived. She drowns out the pain through constant drinking, hookups, and short-lived relationships that end in her ghosting her partner. Percy is an awkward teenager looking to get out of his shell before he ships away from his helicopter parents off to Princeton. He’s been unable to make friends throughout his high school experience and spends his days playing video games and keeping to himself. The two live quietly tragic lives, giving a solid emotional core for audiences to connect to. While the premise itself is funny enough, what truly sells this movie is the script. Written by John Phillips and director Gene Stupnitsky, this screenplay is an exercise in nuance, hardly seen in R-rated comedies like it. It would be very easy to write Percy as an obnoxious nerd who has no social skills at all, but we’re instead presented with a kid who’s a little shy. He’s about as awkward as most teenage boys are, breaking from the Hollywood formula of his type of character. This script stands out as both one of the funniest screenplays in years and also the most realistic. It’s hard to state just how perfect Jennifer Lawrence and Andrew Barth Feldman are in their respective roles. Lawrence is such a terrific movie star in that she can have an enormous presence in every shot she’s in while also feeling like a regular person. Feldman makes his leading debut here, and if his performance is indicative of the rest of his career, he’ll be a star in no time. He perfectly delivers each joke and has endless chemistry with Lawrence. The two bring small mannerisms to their characters that keep them from feeling like movie characters. There are plenty of awkward situations the two get put in, and their grounded performances play up the awkwardness perfectly.
One of the things that screenplays often miss is having memorable minor characters. Stupnisky utilizes the talents of Broderick, Benanti, Natalie Morales, Scott MacArthur, and Ebon Moss-Bachrach, among other great actors, to great effect. Other directors might throw in a cast of kooky characters for comedic effect without connecting them to the larger story, but here we’re treated to memorable characters that serve more of a purpose than a single-scene gag. Raunchy comedies are hard to get right. American Pie and National Lampoon have created a genre of comedy that feels needlessly erotic and tacky. No Hard Feelings takes the idea of the sex comedy and elevates it. It’s sexy but not uncomfortable to watch. It’s laugh-out-loud funny and never cheesy. It’s dramatic but not too sappy. This is a perfect blend of many different comedic approaches that sets itself aside as the best in all the genres it hits. The theatrical scene hasn’t been pretty for original movies recently, and romantic comedies have been hit especially hard. No Hard Feelings is a movie that deserves all the attention it can get on its opening weekend. Jennifer Lawrence brings her A-game and somehow gives one of her career-best performances in a role that can revitalize this genre. This is a movie that will undoubtedly find itself in a long line of classic comedies. While it’ll play very well in the comfort of your own home in a few months, there’s absolutely no better way to watch this than on a big screen with a large audience. One can only hope that Hollywood will produce more movies like this, and that more movie stars will take the daring leap of appearing in a goofy comedy. Who knows? Maybe they'll be the stars of the next No Hard Feelings. No Hard Feelings releases in theaters on June 23. Rating: 5/5 |
Archives
May 2024
Authors
All
|