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: ‘Only Lovers Left Alive’ 8.26.14

Writer/Director Jim Jarmusch has had a very varied career. He has gone through different transformations and styles since becoming one of the first real American independent filmmakers on the scene back in the early eighties. Leading up to this film, I did what I do with a lot of other directors in that if I’m a big enough fan of a film or 2 of theirs, I will go back and do a complete retrospective of their entire ouevre in anticipation for it. Having really only seen ‘Dead Man’ (mediocre) and ‘Ghost Dog: The Way of the Samurai’ (great) I was pretty much a Jarmusch novice. So I started out with the film that put him on the map – 1984’s ‘Stranger Than Paradise’ and went in ascending order watching every film he put out along the way up to 2011’s ‘The Limits of Control’. One thing I realized throughout this process is that I have a very deep respect and admiration for Jarmusch. But as I mentioned, my opinion of his films are rather varied. This one fell into the varied group, in that I can’t say it really did much of anything for me. Much like Wes Anderson, I feel like after he made a few of his earlier films, he developed a certain style that he continued to rehash and infuse into all his films following. Although I did enjoy ‘The Grand Budapest Hotel’, I did come to the realization that not much has really changed. That’s sort of how I feel about Jarmusch. Ever since his films shifted, both stylistically and in content, around the time he released “Dead Man’, I feel like I’ve liked his films less and less with each release (‘Ghost Dog: The Way of the Samurai’ being an exception). He has developed a certain style that is unique and very particular to him. The characters he writes are always hip, cool, sleek, and stylish. That and cinematically his films have always been a feast for the eyes. But here, as more aligned with his most recent efforts, it’s yet another exercise in style over substance. I get that he was trying to do his own take on the vampire genre. Which for the most part was pretty inventive. What lost me was the story. It meandered and little to next to nothing happened except for a few characters that come in and out of this tale of 2 aging vampires, played well mind you, but it’s Tom Hiddleston and Tilda Swinton, so when are they ever not good? While we do get to meet some interesting characters in the form of Anton Yelchin, Mia Wasikowska, John Hurt, and Jeffrey Wright. I felt like the film was too full of itself and Jarmusch just used it as yet another vehicle for his psuedo-intellectual hipsters (only this time they’re vampires!), while also displaying his penchant for music and how he very specifically incorporates it into each of his films (one of the few aspects I thought was well done), and finally, his ability to put his own spin on a different genre all were on display here. But besides his usual trademark stuff, other than that, I felt like the film was void of any true feeling or development of the story. If you want see see a vampire take on ‘Sid and Nancy’, and watch aging vampires sit around, play and listen to music, and do not much of anything other than get their fill. Well, maybe this one’s for you. I just can’t say I would personally recommend it. Except to maybe the diehard Jarmusch fans. In which case, I’m sure they will rise to his defense at any cost and disagree with me.

Grade: C