Posts Tagged ‘dramedy’

Note: Portions of this review were first published during coverage of the 2017 Sundance Film Festival


Written by and based on the life of Kumail Nanjiani, The Big Sick functions like an inter-nationality take on “Guess Who’s Coming to Dinner” for the millennial generation.

Before he was an anchor player on TV Comedies like Silicon Valley, Nanjiani was a stand-up comedian slumming it on his way up the food chain and a closeted agnostic in a family of strict adherents to Islam and Pakistani culture, which includes arranged marriages. In the dramatized version, he meets the decidedly *not* Pakistani Emily (Zoe Kazan) after a gig, kicking off a courtship that is tested first by his reluctance to reveal all to his disapproving parents and second by a mystery ailment that places Emily in a medically-induced coma.

The writing is sharp, with a sharp blend of comedy and drama as Kumail deals with the titular “Big Sick” Emily experiences. It also includes knock-out supporting roles by Holly Hunter and Ray Romano as Emily’s parents, who arrive with their own marital demons in tow to the bedside of their ailing daughter. The film’s best moments derive from the stuttered progress Nanjiani makes winning over the parents of a woman he scorned as the three characters hope for the best but fear the worst.

That the based-on-a-true-story film ends on a positive note isn’t spoiling much , but “Big Sick” keeps the tension under the breezy humor and the film easily earns its sentimental finish.

Grade: A

*The Big Sick opens in Salt Lake City on Friday, July 7.


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*Portions of this review were originally posted during coverage of the 2014 Sundance Film Festival


Director Lynn Shelton has become a Sundance regular with her films “Safety Not Guaranteed,” “Touchy Feely,” and “Your Sister’s Sister” and she continued that success with this year’s “Laggies,” which sees Keira Knightley as a late-20s woman dealing with a quarter-life crises.

Megan (Knightley) lives with her high-school boyfriend and makes her living twirling a sign on the side of the road for her father’s tax assistance agency after her chosen career as a marriage and family counselor didn’t take. After stepping out of a friend’s wedding she runs into a group of high school students including Annika (Kick Ass’s Chloe Grace Moretz) who invite her to hang out for the night. Soon, Knightley finds herself seeking refuge from her life by hiding out in the guest room of Annika’s house, where she meets single-dad Sam Rockwell, doing his typical witty, awesome, Sam Rockwell-esque thing.

The plot follows a familiar path but is saved from redundancy by its sincerity. The inevitable conflicts are not played for melodrama but instead unfold naturally, realistically and with a relatable heart that is both endearing and refreshing. Rockwell follows up last year’s The Way Way Back with another stellar performance that grounds the movie and keeps the laughs flowing.

Much like Shelton’s previous work, Laggies excels in its simplicity, caring less about grand statements than the not-quite-everyday drama of reasonably life-like characters. While unlikely to make an enormous impact on the fall movie scene, it makes for a pleasant night at the movies and a good showcase for what Knightley can do outside the big Hollywood blockbuster machine.

Grade: B+

*Laggies opens nationwide on Friday, October 24.

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This is Where I Leave You is not a particularly good movie. It relies on a cloying sentimentality, arbitrary conflict and leaves much of its significant potential wasted.

And yet, it is not unenjoyable viewing, largely due to the incredible talent of its assembled cast that paradoxically leads to unattainable expectations.

Truthfully, if you were to assemble Jason Bateman, Tina Fey, Cory Stoll, Adam Driver, Kathryn Hahn, Jane Fonda, Rose Byrne and Connie Britton for a dramatic reading of Technotronic’s “Pump Up The Jam,” I would likely rise to my feet in applause. Yet that performance, just like This is Where I Leave You, would be a tragic squandering of what this ensemble could have achieved.

The film is largely centered on Judd (Bateman) who is cuckolded by his man-child of a boss and whilst growing an impressive breakup beard learns that his father has passed away. His father’s dying wish was that his children sit Shiva, a week-long mourning ritual in Judaism that involves the immediate family of the deceased sitting and receiving guests during each of seven days.

And so the Altman children gather: namely eldest son Paul (Stoll) and his child-starved wife (Hahn); frenzied sister Wendy (Fey) and her prop of a family; Judd, who immediately reconnects with an old crush (Byrne); and youngest son Phillip (Driver) the immature screw-up dating his much-older former psychiatrist (Britton).

The family is dysfunctional in a textbook movie way, with outrageously explosive scuffles never steering the plot away from the inevitable group hug at the end. But while that saccharine reconciliation is a foregone conclusion, its unclear how most of the characters have achieved any sort of emotional evolution by the time the credits roll.

These are argumentative family members who maintain a lovingly distant relationship, thrust together by tragic circumstances only to again separate and argue, lovingly, when the credits roll. Any progress is incremental and in the case of Fey it’s unclear what transformation, if any, has taken place during the story.

And yet. And yet.

This is one of the best casts ever assembled and the sheer joy of watching them squabble is delightful despite the sometime asinine plot. Driver especially brings an unpredictable mania to the roll, further cementing his status as a national treasure, while the always excellent Stoll and Britton are unfortunately sidelined to make way for other toys.

It’s a bit of a shift for director Shawn Levy, who of late has been mostly consumed with the Night at the Museum franchise, short shift comedies The Internship and Date Night and, of course, the robot Boxing Movie Reel Steel. Levy never quite hits the dramatic notes required by the films more emotional moments, but handles the comedic elements with a breezy ease that almost makes up for the film’s shortcomings.

Grade: B-

*This Is Where I Leave You opens nationwide on Friday, September 19.

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