A Trip To The Movies: Review – “Trainwreck” 7.19.15

“Trainwreck” is the new Judd Apatow directed comedy written by and starring Amy Schumer. Like with any new Apatow comedy, I like so many others (evidenced by the sold out crowd at the showing I saw), share quite a bit enthusiasm for his work. After all, even though Apatow has his fair share in a number of Producing credits (“The Cable Guy”, “Superbad”, “Forgetting Sarah Marshall”, “Pineapple Express”, “Get Him To The Greek”, “Bridesmaids”, and “The 5-Year Engagement”, to name a few. After working in television on both the short-lived “Freaks and Geeks” and “Undeclared”, as a feature-length film director, he only has 4 films under his belt. First, what some consider to be his best, was “The 40-Year Old Virgin”, which made a then almost unknown Steve Carell into an almost overnight sensation. This followed by “Knocked up”, which was the launching pad for Seth Rogen’s career (prior to that he really was only known for starring in the two aforementioned Apatow TV series), to what I consider his best film to date – the Rogen/Adam Sandler comedy “Funny People”, to his last and probably most poorly received film “This is 40”. I was excited to hear that Apatow was returning without his usual cast – missing here is his real life wife and regular star of his films, Leslie Mann. Nor were his children cast (a move that I always thought was a rather narcissistic one on Apatow’s behalf). Also missing here was Rogen, who has starred in two of his three films prior (I don’t know about you, but I think a lot of us are kind of burnt out on Seth Rogen). What interested me most about his newest project was not only did Apatow seem to be branching out in terms of casting but even more so, that he cast the little known (to the film world that is) Amy Schumer, a stand up comic whose been creating quite a few waves on the comedy circuit for years. That and she penned the screenplay and got a sole screenwriting credit along with landing a role as the star of the film. It’s because of my love of Apatow comedies and the word-of-mouth buzz that Schumer absolutely knocks the role out of the park that once I saw the film advertised and opened to much praise from both users and critics alike that I rushed out to the theater to be one of the first to catch my first glimpse at the newest from the reigning and undisputed king of comedy.

The film opens with one of the stronger and funnier opening scenes as a father (Colin Quinn – expertly cast) tries to explain to his two young girls why he and their mother are getting divorced by using dolls as an analogy (“like kids do, adults eventually get tired of the same doll and want to branch off and play with other dolls”). Flash forward 23 years, and we are introduced to the two young girls from that opening scene. Amy (played by Amy Schumer) as she explains her life in voice-over. A late twenties/early thirty-something teenager stuck in an adult’s body. While she takes her job seriously as a writer for a popular New York magazine, her personal life is in shambles (well, according to the viewer anyway, though Amy would tell you otherwise). She sleeps with as many men as possible, and along with a montage of drunken one night stands where she plays by a set of rules (never sleep over after sex, no cuddling, fuck em and flee, the list goes on and on) we learn where her priorities lay (with the exception of work – mostly drinking and sex). This is counterbalanced by her younger sister (played by my favorite under 30 actress – Brie Larson, whose done some really strong work both inside and out of comedy) as well as her husband (“Sleepwalk With Me”‘s Mike Birbiglia) and her young nephew (one of those young Science geeks who their grandfather/Colin Quinn sums it up rather hilariously – “he’s the type of kid we used to beat up in school”). While Amy loves her sister, she is also somewhat disgusted of her domesticated lifestyle, which in some ways gives her own kind of self rationalization and justification to continue living the lifestyle that she does. That is until she is given the assignment of writing a piece on a young medical doctor who works with sports athletes (again, played by another one of my favorite comedic actors to perfection by Bill Hader). I won’t go too much further into it other than to say that she develops a relationship with him, one that even she never thought possible (is Amy actually capable of being able to “love” someone?).

In summary, “Trainwreck” works on a number of different levels but is also slightly flawed. Here, Apatow puts his best yet ensemble piece yet, with Schumer paving the way and bringing a certain likability and authenticity to her performance in what I thought was the best part of the film (believe the hype, she is nothing short of astonishing here). As was Bill Hader in the boyfriend role, Brie Larson as her younger sister, Tilda Swinton as Amy’s boss, Colin Quinn as her dad, Mike Birbiglia as her brother-in-law, and get this – both former WWE star John Cena as one of her only serious boyfriend’s prior to Hader’s character and who I had my doubts about but who puts in one of the best real life sports athlete performances by Lebron James (apparently he can play Basketball and do comedy). The story has a lot of heart. And the first half had the audience laughing so hard from minute to minute that I heard a lot of people around me ask – “what did they just say”, as they were still laughing from the joke that preceded it. It’s what Apatow does best. And similar to what Noah Baumbach has done with Greta Gerwig, it becomes quite apparent that Schumer acts as his direct source of inspiration for and muse here and is the comedic actress he’s been waiting for all along to do a project with as she really does hit all of the right notes. Here’s what detracted a bit from the film for me. Like “Funny People” and “This Is 40”, writer Schumer and Apatow tell a story that at about the halfway point, falls more into dramatic territory and while the jokes remain consistently funny throughout, I personally felt like the momentum of the film died down a bit in its second half as Amy goes through a somewhat predictable self-transformation from her former self into her new-found self as her relationship with Hader’s character gets more serious. That being said, there’s plenty of laughs galore here and as promised, Schumer is a revelation here as she puts in one of the stronger female comedic roles that I’ve seen since Jenny Slate in last year’s “Obvious Child”. At times a bit formulaic but consistently funny from start to finish. “Trainwreck” winds up being one of Apatow’s stronger efforts in his still small but expanding filmography in a film that marks Amy Schumer as one of the most exciting, new young talents in a film that should please almost any fan of feel good comedies even despite some of its flaws.

[B]

This Weekend! Judd Apatow’s new comedy “Trainwreck” – Sun, 7/19 350 @ Fox Tower

Sunday, Jul 19, 2015, 3:45 PM

Regal Fox Tower 10
846 Sw Park Ave Portland, OR

13 Portland Film Enthusiasts Went

It’s never to early to start planning for the next movie meetup! In what looks like it’s gearing up to be the comedy of the summer. I for one am excited for the new film from the director who has brought us some of the best and most notable comedies of this century so far (“The 40-Year Old Virgin”, “Knocked Up”, “Funny People”, “This is 40”). The r…

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Review: ‘Obvious Child’ 10.11.14

It’s interesting that I should come off a new Woody Allen film with this one up next in the cannon. The reason why I say this is because Allen is considered the first writer/director in American cinema who really started writing strong female characters in film with Diane Keaton acting as his muse. Which is one of the many things I admire about him. If you think about the entertainment industry its always been a predominately male driven one. If you want proof of this look no further than even to this day where there are just a handful of well known women directors. That and when most people talk about or list off who their favorite “actor” is (yes people women are considered actors too) they usually list off a group of men. That’s why I always become interested when I see a movie come along that boasts a mostly female cast (1986’s “Hannah and Her Sisters” being one of the all time greats). Or in the case of this film, focuses primarily on the trials and tribulations of one woman. Being in that I am a member of the opposite sex, I find it’s important to seek out films that identify with the experience of being a woman. So often in film women are put on screen only to be objectified (see Megan Fox) and reduced to mere eye candy. Which I think is really rather unfortunate. When I first heard about this film, like with most films, it was by seeing a trailer for it before another. I didn’t really recognize anyone in it other than Gaby Hoffman, who I had recently seen and absolutely loved in last year’s “Crystal Fairy and the Magical Cactus”. That and it looked like it had the potential to be really funny. What sealed the deal for me was the fact that it not only looked like a lighthearted comedy, but one with true spirit; and most importantly, one that focused on a strong central female character. Having not gotten the chance to see it in theaters I put a high priority on seeing it as soon as it came out on DVD.

The film first introduces us to Donna (played by Jenny Slate), a young woman in her late twenties who moonlights as a comic in Brooklyn while she works at her day job at a local bookstore. After a performance one night she is approached by her boyfriend who explains that he’s been cheating on her which completely overwhelms and devastates her. To top if off the following morning at her day job her boss tells her that he’s closing shop. So in a span of 24 hours she gets dumped and her only steady source of income is gone. Donna seeks solace in her best friend (played by Hoffman), her supportive and understanding father, as well as her not so supportive, higher standard, but equally as loving mother. She appears to be going through some mid quarter life crisis and falls into self deprecation. Then on one drunken and off performance night out she meets Max, a guy who while although isn’t really her type, conveniently shows up at a time when she’s most vulnerable. She winds up going home with him (in a dance party sequence that’s pure gold) and has a one night stand, which at that point the central plot of the story begins as she becomes faced with one of life’s most difficult decisions.

This is a wonderful film that I had really good time with. It left me feeling similarly to how I felt after 2012’s brilliant film by Noah Baumbach – “Frances Ha” which also focused on another strong female central character played by the superb Greta Gerwig. Like Gerwig, Jenny Slate is mesmerizing in her role here, and also like Gerwig in that film, plays the character with an authenticity that really comes through in her performance. I also thought it was raw, heartfelt, and tenderly funny, without feeling melodramatic or too full of sentiment. Donna is equally as funny in both her on and off stage personas. The conversations she has with her friends and family as well as her audience produces some genuine laughs about her ruminations on life. Also, the relationship that unfolds with the unassuming Max feels real in a way that is often times hard to capture in similar type relationships I’ve seen depicted in other movies of its kind. There’s also a great bit part featuring David Cross which I was surprised by but I thought fit perfectly in the context of the film. My only couple of minor criticisms is that there’s a coincidence that turns up involving Max that to me seemed a bit far fetched. Very similar to how I felt about the coincidence involving both Julia Louis-Dreyfus and James Gandolfini in last year’s “Enough Said”. Also, I felt like the story could have been expanded on a little, which felt a bit short and breezy as it zipped by at a brisk 80 minutes. But despite those two pretty minor critiques, this is a film bursting with energy and real true human feeling and emotion. That and as mentioned above, and what I think deserves to be noted twice, it features a bravura performance by the little known Slate who I can potentially see gaining some awards attention at the year’s end by some of the smaller indie-friendly critic’s circles. This is a smart, honest, feel good film which is one of the best of its kind that I’ve seen all year. I’ve already added it on my list of Honorable Mentions that should survive and wind up on my end of the year list. Do yourself a favor and seek this one out. I can assure you that it won’t disappoint.

Grade: B+