Anyone who has ever said that women aren't funny clearly isn't paying attention. We're in a renaissance of brilliant female actors, comics, and writers -- Lena Dunham, Tina Fey, Mindy Kaling, Julia Louis-Dreyfus, Amy Poehler, Aisha Tyler, the list goes on -- who are standing their ground and showing men more than a thing or two about how to get laughs. (Hint: you have to EARN them, not just word-vomit a bunch of jokes and hope something sticks!)Everyone should know by now that Amy Schumer is also funny, thanks to her insightful stand-up, her wicked jabs at celebrity roasts, and the pointed, feminist-oriented satire of her Emmy-nominated, Peabody-winning Comedy Central sketch series "Inside Amy Schumer." But by writing and headlining her first movie, the real question becomes two-fold: can she act, and is she comfortable sharing the spotlight?
The answer to both questions is a pleasantly surprising yes. "Trainwreck" takes us further inside Amy than ever before, with Schumer making light in interviews about how loosely the film is based on her own life. Fact or fiction, it's nice to see a comedy that shows how people in a relationship can help each other learn and grow, rather than only one person being "right" and forcing the other to change. Schumer has a broader dramatic range than the nature of her comedy would suggest, and she has given us a well-rounded debut screenplay that performs a delicate balancing act. Yes, it's big on laughs, but the movie (like its main character) hides a big heart without being gushy or overly sentimental, especially where her family interactions are concerned. It's rewarding to see her play a human being, flaws and all, rather than the alleged ideal of how a woman in this or any movie is "supposed to" behave. If I have one complaint, it's that director Judd Apatow ("The 40-Year-Old Virgin," "Knocked Up") gets a lot of great material out of his actors, but he doesn't always know when to call cut on a scene, bit, or running gag. "Trainwreck," an otherwise solid movie, ends up clocking in long for a comedy at 125 minutes.
Critical to any love story, humorous or otherwise, is the amount of chemistry between the leads. Schumer shares a comfortable yet dynamic rapport with Bill Hader, and their banter and comic timing -- perfectly honed from their respective years in the industry -- are absolutely endearing. It doesn't matter in the slightest that neither of them would be considered attractive by (misguided) conventional Hollywood standards, mainly because they are a supremely talented pair. The ups and downs of their relationship are exponentially more convincing as regular people falling in love, particularly when compared to the phoned-in facades of the Jennifers (Aniston or Lopez) and their interchangeable male counterparts. It's also incredibly refreshing to see a female lead who looks like she's actually eaten something this month. Like Melissa McCarthy and Rebel Wilson before her, Schumer is getting work not in spite of her figure, but because of it. By embracing herself and her body, she is sending a strong message to Hollywood: skinny girls are no longer the norm!
As great as the leads are, this is hardly Schumer's vanity project. She and Hader give the supporting characters their fair share of winning lines and moments. For all of the jokes made at the expense of athletes -- Hader plays a sports doctor and Schumer doesn't understand the appeal -- two such personalities offer memorable performances. John Cena is known for his tough-guy bravado as a WWE wrestler; as an early suitor of Schumer, he is amusingly self-conscious and shows an exaggerated sensitive side. Cena's movie theater meltdown during one of their dates is a revelation of his unexpected knack for comedy. Basketball player LeBron James is also cleverly cast as Hader's client and friend, playing a version of himself that doesn't enjoy his own fame or wealth. In most comedies, the role of dishy confidant is assigned to the female lead's friend/co-worker/neighbor/etc, but in a stealthy, gender-swapped maneuver, James delivers all of his doting, supportive dialogue with surprising aplomb. Bringing more A-list cred to an already stellar cast, Oscar winner Tilda Swinton shows up as Schumer's demanding magazine editor. In a hilarious, transformative turn (seriously: she looks, moves, and sounds like a totally different person), Swinton aces some of the film's most biting one-liners without overselling them. Eagle-eyed viewers can also catch plenty of cameos by stand-up stars and "Inside" regulars like Dave Attell, Mike Birbiglia, Bridget Everett, and Tim Meadows, as well as a few more appearances from the wide world of sports.
"Trainwreck" is ultimately a romantic comedy for discerning adults who don't mind a little raunch. More than likely, the film's frank discussions, bad habits, and awkward sexual encounters ring true from either your own experiences or those of close pals. Schumer comes across as the kind of well-meaning, troublemaker friend that you have, had in the past, or have been yourself. Among other attributes, it's her uniquely relatable screen presence that carries the movie above many of its contemporaries. The finale may be a tad predictable for some, but despite adhering to certain tenets of the rom-com genre, at least the movie gets there in its own forward-thinking way -- earning both its laughs and its happy ending.
No comments:
Post a Comment