This Is a Movie Review: ‘A Ghost Story’ Has Intriguing Metaphysical Ideas But Mostly Just Tests My Patience

July 5, 2017

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This review was originally posted on News Cult in July 2017.

Starring: Rooney Mara, Casey Affleck

Director: David Lowery

Running Time: 87 Minutes

Rating: R for the Cause of Death (Though Most of the Content is Quite Mild)

Release Date: July 7, 2017 (Limited)

If you have heard of David Lowery’s A Ghost Story in passing, chances are you know one of two things about it: 1) the titular ghost is rendered by someone wearing a bedsheet with cutout eyeholes, and 2) Rooney Mara eats an entire pie for about 10 minutes straight. The former sounds dumb but is actually kind of charming, while the latter sounds like an admirable bit of anti-cinema but is actually representative of everything wrong with this movie.

The setup is notably (perhaps fascinatingly) bare-bones: a young couple, presumably married, listed in the credits as “M” (Rooney Mara) and “C” (Casey Affleck), move into an idyllic suburban house. C dies in a car accident and then awakens in the morgue as the sheet-ghost. He returns home and meets another sheet-ghost next door. He keeps an eye on M and occasionally throws some books off the shelf. She eventually moves out, presumably due to grief or maybe because of the supernatural goings-on (hardly anything is concretely explained). He sticks around and meets the new residents, haunting them a bit but mostly just observing them. Ultimately Lowery makes it clear that his conception of ghosts is not bound by the normal rules of time, as a temporal loop allows C to experience anew his and M’s entire relationship, with a few detours along the way.

A Ghost Story has an interesting metaphysical perspective, with its version of the afterlife steeped in feeling as much as ideas. It offers some rewards if you meditate over it, but actually watching it is a slog. The dialogue is sparse, and the action leads nowhere, which is not necessarily a problem if the aim is to be sensuously experiential. And in fairness, Andrew Droz Palermo’s cinematography is pretty to look at, but not so extraordinary that it can justify a movie that mostly just stands still. A film’s purpose does not need to be obvious, but it is preferable if it feels like something more significant than “we just felt like it.”

A Ghost Story is Recommended If You Like: Endlessly Ruminating

Grade: 2.5 out of 5 Pies

This Is a Movie Review: ‘Spider-Man: Homecoming’ Switches Back and Forth Between Amusingly Diverting and Alarmingly Deadly

July 3, 2017

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This review was originally published on News Cult in July 2017.

Starring: Tom Holland, Michael Keaton, Jacob Batalon, Jon Favreau, Robert Downey Jr., Laura Harrier, Marisa Tomei, Zendaya, Tony Revolori, Martin Starr

Director: Jon Watts

Running Time: 133 Minutes

Rating: PG-13 for the Usual Superhero Action

Release Date: July 7, 2017

The problem with the two Spider-Man movies with Amazing in the title (as opposed to the Spider-Man movies that could be accurately described as “amazing”) is that they hewed too closely to what had already been told in recent cinematic history. Spider-Man: Homecoming (the first Spidey flick to take place in the Marvel Cinematic Universe) avoids that issue by crafting a Peter Parker (here played by 21-year-old Tom Holland, who easily passes for 15) that is markedly different than any classic conception. Rather than bounding himself by the code of “with great power comes great responsibility,” this Spider-Man bounds into any crisis with reckless abandon. As a big proponent of not being beholden to source material, I admire this decision, but I wish that director Jon Watts and his team of co-screenwriters had a stronger handle on what exactly this conception means.

This is very much a high school movie, with its emphasis on episodic, almost sitcom-esque structure. But it is also a superhero action flick, so the threats are just as deadly and just as adult as they are in any other Spider-Man or any Avengers film. The tonal bridge between these two halves is plentifully whiplash-inducing. It is absolutely fine to awaken a hero to the dangers of the world, because the hero’s journey has been fruitful for centuries of storytelling, and it is a valuable representation of real-life maturation. Even switching back to scenes of high school shenanigans after fights with the most wanted criminals is theoretically acceptable, because mundanity does exist right alongside evil. But it requires a deft hand to make that balancing act entertaining and palatable, a feat whose difficulty Homecoming vastly underestimates.

What Homecoming succeeds at most is its skillfulness at making fun of itself, or the MCU more generally. I often find blockbuster stabs at humor to be glib and obvious, but it helps when you have comedy heavyweights like Hannibal Buress, Martha Kelly, and Martin Starr (whom Community fans will note is essentially reviving his performance as Professor Cligoris). Still, as funny as it is, it feels out of place. After all, it is essentially window-dressing to the fight that Peter takes up against arms dealing Adrian Toomes (a controlled, but thoroughly sniveling Michael Keaton), who eventually takes flight as a mechanized version of classic comics baddie the Vulture. We’ve previously seen Spidey get into predicaments as stressful as what he gets into here (a rescue atop the Washington Monument, holding together the two halves of a fissured Staten Island Ferry), but never against the context of a Spider-Man who actually looks like a teenager.

Robert Downey Jr.’s Tony Stark stops by for several scenes to lend a hand in some of these most dangerous moments. Holland does not need RDJ’s help to make his first big starring vehicle work, but Peter Parker does need Iron Man’s help to avoid killing himself. It is that alarming realization that makes it clear that this ostensibly light and fluffy actioner has maybe taken on more weight than it can bear. Still, it is enjoyable when it allows itself to be kid’s stuff.

Spider-Man: Homecoming is Recommended If You Like: The Other Spider-Man Movies But Wish That Peter Parker Actually Looked Like a Teenager and That Everyone Was Hitting on Aunt May

Grade: 3.5 out 5 Best Sandwiches in Queens

 

This Is a Movie Review: ‘2:22’ Has No Idea What Makes Patterns Compelling

June 30, 2017

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This review was originally posted on News Cult in June 2017.

Starring: Michiel Huisman, Teresa Palmer, Sam Reid

Director: Paul Currie

Running Time: 99 Minutes

Rating: PG-13 for Stray Bullets and Falling Chandeliers

Release Date: June 30, 2017 (Limited)

What if you noticed a pattern of ominous occurrences happening at the same time every day? Would you conclude that you were going insane, or that you were the star of a movie with a nonsensical screenplay? Is there a difference? The makers of 2:22 would like you to think so. The trouble is, they do not seem to realize how ridiculous their film is. It is bad enough when stories about the patterns that secretly dictate our lives are silly when they mean to be profound, but 2:22 makes it a trifecta by adding inscrutable and boring to the mix.

The first half hour or so is at least agreeably intriguing. Dylan (Michiel Huisman) is an air traffic controller who prides himself on getting his landings and takeoffs right by fastidiously sticking to his routines. But when a random lapse in focus nearly leads him to cause a crash between a departing and an arriving plane, he ends up suspended from his job. He uses the resulting free time to investigate an inexplicable pattern of events happening in the same order every day, always culminating at Grand Central Station at 2:22 PM. One would assume that the near-crash is a prologue that provides vital info relevant to the 2:22 business, but as far as I can tell, they have nothing to do with each other.

Dylan also strikes up a romance with art gallery worker Sarah (Teresa Palmer), one of the passengers in the near-crash. When she discovers his part in her almost dying, she brushes it off and declares that he in fact saved her, a turn that is maddening, but Palmer’s immense charm makes it (barely) palatable.

2:22 throttles towards attempting to provide some sort of concrete explanation for the pattern and why only Dylan recognizes it. Sarah’s ex-boyfriend Jonas (Sam Reid) debuts a virtual reality art exhibit set in Grand Central, leading Dylan to suspect that he is the one behind these strange occurrences, toying with him in some sort of jealous lover’s quarrel. Physically, that appears impossible, but Jonas’ motivations suggest otherwise. That explanation would be the formula for a cheap emotional thriller, which could easily be overly manipulative but at least potentially understandable.

Instead, the ultimate reveal is some mumbo-jumbo about a metaphysical time loop, wherein Dylan, Sarah, and Jonas are repeating an event that happened decades ago with different people, and/or they are resurrected versions of those people, or they are those people but stuck in limbo, or maybe every generation is doomed to repeat this same disaster. Something something something, be careful about being too committed to your routines?

2:22 is Recommended If You Like: Paranoid Schizophrenia, Endless Theorizing About Everything

Grade: 1.5 out of 5 Algorithms

This Is a Movie Review: ‘Despicable Me 3’ Plays to Its Strength Just Often Enough

June 30, 2017

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CREDIT: Universal and Illumination

This review was originally posted on News Cult in June 2017.

Starring: Steve Carell, Kristen Wiig, Trey Parker, Pierre Coffin, Miranda Cosgrove, Dana Gaier, Nev Scharrel

Directors: Pierre Coffin and Kyle Balda

Running Time: 90 Minutes

Rating: PG for Off-Color Minionese Jokes

Release Date: June 30, 2017

“I miss the Minions,” Gru laments about halfway through Despicable Me 3. Ever since the 2010 release of the first in this series, missing the Minions could only ever be relative. But when those little yellow pills are not on screen, you feel it. They may be divisive, inspiring just as much ire as they do unbridled joy, but there is good reason why they have been the breakout characters. As much as they inspire little kids (and some adults) to babble incessantly in Minionese, they are not lacking in ingenuity. Indeed, their moments in the spotlight continue to be the most imaginative, inventive, and playful in the DM-verse. When in DM3 they stumble into a live singing competition and are forced to come up on the spot with a signature babbling version of the Gilbert and Sullivan classic “I Am the Very Model of a Modern Major-General,” their versatile ability to think on their feet is as inspiring as ever.

Alas, this buoyancy is not present throughout, as directors Pierre Coffin (also the voice of most of the Minions) and Kyle Balda and writers Cinco Paul and Ken Daurio commit the cardinal sequel sin of splitting up their characters into dispersed storylines. Gru (Steve Carell, having a ball as always), Lucy (Kristen Wiig), and the girls all head out to the European mash-up/Marx Brothers reference country of Freedonia to meet Gru’s long-lost twin brother Dru (Carell pulling double duty), but everyone has their own thing going on. The much more outwardly charming Dru tries to pull Gru back into a life of villainy to fulfill a family legacy, while Lucy is more focused on getting the girls (who have their own subplots that have essentially nothing to do with anything else) to really truly think of her as a mom.

The Minions’ storyline succeeds the most by following an instinct of loyalty and getting everyone back together. Dru is not the only one trying to drag Gru back to a life of crime, as his little yellow assistants commence an insurrection that results in a mass resignation. They ultimately wind up imprisoned (if you love the Minions, you will love seeing them become the ruling jailhouse gang), where they see the error of their ways and craft an impromptu aircraft out of prison toilets and washing machines. There’s that ol’ Minion ingenuity, implemented for the purpose of absurd goodness.

This is a busy movie, leaving little room for its ostensible villain to make much of an impression. This series has never really needed strong antagonists, as its most interesting conflicts have been more internal. But with the heroes all now mostly on the side of good, it would help if diamond thief Balthazar Bratt (Trey Parker) were more of a complementary counterpoint. Instead, he is just a bizarre presence sticking out like a sore thumb, with his defining characteristic being his fetishization of the ’80s.

There is a weird tension at the heart of Despicable Me 3. So much happens, but so much is left teased. The ending suggests that this has been one 90 minute-long trailer for the next real Dru-centric adventure. But really, the problem here is that there is not a strong enough capitalization on this series’ enduring sweetness. The girls are adorable, they love Gru, Gru’s a great dad, Lucy never needed to try so hard to be accepted, and the Minions are so, so loyal. Everyone is on the same side, thus why it is such a shame that they are not all in the same scenes as often as possible.

Despicable Me 3 is Recommended If You Like: Cramming as Many Plotlines as Possible Into 90 Minutes

Grade: 3 out of 5 Minions Blowing Raspberries

This Is a Movie Review: The Naughty Nuns of ‘The Little Hours’ are Raunchy and Sweet

June 28, 2017

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This review was originally posted on News Cult in June 2017.

Starring: Alison Brie, Dave Franco, Kate Micucci, Aubrey Plaza, John C. Reilly, Molly Shannon, Fred Armisen

Director: Jeff Baena

Running Time: 90 Minutes

Rating: R for Naked Witchcraft Acid Trips

Release Date: June 30, 2017 (Limited)

Fred Armisen shows up as a visiting bishop about halfway through The Little Hours. It is a hilarious scene, but it encapsulates the trepidation I had upon viewing this flick. In writer/director Jeff Baena’s riff on one of the tales from 14th-century story collection The Decameron, things are getting wild and crazy at a convent, with a trio of central nuns (Alison Brie, Aubrey Plaza, Kate Micucci) getting into sex, witchcraft, and other debauchery. While the premise alone is worth several chuckles, I had worried that it was better suited to a sketch rather than a full feature length, and Armisen’s routine demonstrates exactly what I was thinking of.

As Bishop Bartolomeo, Armisen takes stock of all the sinning that the residents have been getting up to, and it is a potent mix of petty, mundane, and outrageous. Running down kooky lists and taking a few breaks for exasperation is one of Armisen’s specialties. He revels in a litany that includes envy, “being a busy body,” “eating blood,” and “not being baptized.” This recaps everything important that has happened thus far and if this scene had been an SNL sketch (easily imaginable, considering the cast), our imaginations would just fill in the visuals for all that outrageousness. Instead, we get to see all the vulgarity play out, which could be a recipe for exhaustion after ninety minutes, but The Little Hours has some grounding elements to make the whole course palatable.

The focus is on three young brides of Christ – Alessandra (Brie), Fernanda (Plaza), and Genevra (Plaza) – who are either seeking to escape the convent or happy to stay there but not really interested in living the religious life properly. This would all be just a mélange of nuns behaving badly if not for the appearance of runaway servant Massetto (Dave Franco), who strikes up a romance with Alessandra and a deal with the head priest (John C. Reilly) to keep his true nature a secret. The love story is kinda sweet and Reilly is always so invested in the material no matter how ridiculous, elements that help offset all the debauchery, which is fitfully amusing but could have been exhausting if not for these counterpoints. Besides, this film cannot coast on shock value when its ladies do not bother one iota to resemble actual nuns.

The Little Hours is Recommended If You Like: History of the World: Part 1, The sexier scenes from Monty Python and the Holy Grail, The To Do List

Grade: 3.5 out of 5 Rolls in the Hay

This Is a Movie Review: Bong Joon-ho Wants ‘Okja’ the Super Pig to Be Your New Best Friend

June 27, 2017

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This review was originally published on News Cult in June 2017.

Starring: Ahn Seo-hyun, Tilda Swinton, Jake Gyllenhaal, Paul Dano, Steven Yeun, Giancarlo Esposito, Lily Collins, Shirley Henderson

Director: Bong Joon-ho

Running Time: 120 Minutes

Rating: Not Rated, But Watch Out for Factory-Grade and Mano-a-Mano Violence

Release Date: June 28, 2017 (Theatrically in New York and Los Angeles/Streaming on Netflix)

There are some people who are perfectly fine with consuming animal products, and then there are others who are staunchly vegan. If a multinational conglomerate were to engineer adorable giant pigs to cure world hunger, I do not imagine that most people would change their stances. Nor, if his latest film Okja is any indication, does Bong Joon-ho. But we are not here to focus on the masses (save for a decadent prologue that establishes that they are here to lap up whatever innovation/new species is fed to them). This is a story about a girl and her super pig, and all the zany, brainy, insane-y forces of the world that get in her way.

It might be possible to find Okja – who looks like a land-dwelling hippo with big ol’ floppy ears and a stretched-out porcine face – completely adorable and still be okay with eating bacon. I know I certainly do. Or perhaps this film will convince to swear off all pork products forever. No matter where you fall on this spectrum, it cannot be denied that Okja’s young farmgirl companion Mija (newcomer Ahn Seo-hyun) has been done wrong in so many ways. Her grandfather sells Okja to the Miranda Corporation, which will purportedly parade her around as the winner of a Super Pig contest, but of course that is just a distraction away from how the sausage is made. A visit to the factory makes it look practically genocidal. A group of activists known as the Animal Liberation Front teams up with Mija to expose Miranda for what it really is, but their motives may not fully align with each other, as Mija just wants to take Okja back home. And taking it all back to the beginning, Okja and Mija’s friendship was practically engineered by Miranda for its marketability.

Despite how grossly its animal characters are treated, Okja is not about shaming its audience. Its purpose is holding up a cracked funhouse mirror to global capitalism. Or is it just a normal mirror? In which version do we ravenously consume faces and anuses? (They’re American as apple pie!)

Befitting a Bong Joon-ho film and a world in which people feel that they can get away with anything, the production design is a beautiful and lavish rainbow, but also probably extravagantly wasteful. The characterization is similarly outsized, with the heroes, villains, and half-hero/half-villains alike displaying a range of delectable behavior. As the braces-wearing Miranda CEO, Tilda Swinton is an anxious mix of demonstrating her power and proving that she does in fact have power. Her underlings include the preternaturally calm Giancarlo Esposito and the bizarrely squeaky-voiced flibbertigibbet Shirley Henderson. Jake Gyllenhaal is deep in character work as usual as a sweaty, shorts-sporting zoologist TV host. And as the head of the ALF, Paul Dano offers up scary commitment. His brand of ethics is admirable, but not above violent enforcement. Okja asks: do we really want to free the animals if it requires such militancy?

When the film gets into specifics, though, the questions are never that simple. It all rests on the shoulders of little Mija, who has the most clear-cut motivation of anyone. Her focus and resolve allow her to achieve her purpose, but it is not clear that that result makes the world a better place. What do we make of life when every individual story is a MacGuffin?

Okja is Recommended If You Like: Orphan Black, Free Willy, The Hunger Games

Grade: 4 out of 5 Magical Animals

This is a Movie Review: ‘Baby Driver’ is a Fun Thrill Ride, But More Alarming Than Expected

June 26, 2017

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This review was originally posted on News Cult in June 2017.

Starring: Ansel Elgort, Lily James, Kevin Spacey, Jon Hamm, Jamie Foxx, Eiza González

Director: Edgar Wright

Running Time: 113 Minutes

Rating: R for Everything Spinning Out of Control

Release Date: June 28, 2017

I am not sure if the one nagging thing preventing me from fully embracing Baby Driver is a moral one or a storytelling one. I am also not sure if that thing matters and I should just embrace the film unabashedly. But either way, let me let you in on my thought process: am I bothered by not just all the bloody mayhem, but also that we are seemingly meant to cheer on all this violence? Or am I more flummoxed by the lack of context regarding Doc the crime boss (Kevin Spacey)? Part of the issue is that I was prepared for just a fun stylized thrill ride but what I got did not skimp on the consequences. In fairness, I should have been prepared, as writer/director Edgar Wright’s films always grapple with the practical and emotional fallout of even the most outrageous circumstances. While that is alarming, Baby Driver is frankly better for it.

But back to that highly stylized premise for a moment. Baby (Ansel Elgort) is a getaway driver with a drum in his hum (i.e., tinnitus sustained from a car accident that killed his parents) and thus always has earbuds in to keep himself centered and rhythmic. Accordingly, the soundtrack never lets up. It is a toe-tapping mix of classic rock, funk, and R&B that is never too familiar to be too tiresome. It would be impractical to list every track, but I will pick out a few favorites (Bob & Earl’s breezy “Harlem Shuffle,” Golden Radar’s ominous-but-in-a-fun-way “Radar Love,” Focus’ face-melting yodeler “Hocus Pocus”) and note that all of them have everyone’s heart ticking at just the right click.

This could all be a setup for a nearly dialogue-free sensory experience, but instead it has an honest-to-goodness narrative, and the result is more challenging than the alternative. It traffics in clichés, but it spins gold out of them. Baby never meant to get mixed up in this world of thieves, and he is going to get out of the game after ONE LAST JOB. Naturally, Doc threatens to break his legs and destroy his loved ones, but the two also seem to somehow have a genuine friendship. The contradictions are striking but lived-in and convincing. The love story is just as basic and formulaic, with Baby dead-set on driving out of town with diner waitress Debora (Lily James). But their attraction is sparkling and immediately filled with mutual respect. The only improbable thing is how they lucky they are to have met their perfect match by sheer happenstance.

Ultimately Baby chooses to resort to some extreme means to escape his lot in life, and the fate that then meets him somehow feels simultaneously black-and-white and filled with shades of gray. Herein Baby Driver reveals itself as an illustration of the tension between a decent man and an indecent world. We all need to something to keep us centered to get by. For Baby, that is not just his music. Even more so, it is a penchant for mutual acts of kindness and pleasantness. A valuable message absolutely, and one that makes the few moments when Baby slips into darkness so difficult to bear.

Baby Driver is Recommended If You Like: Its Trailers – this is a well-advertised movie

Grade: 4 out of 5 iPods

This Is a Movie Review: The Bad Batch

June 23, 2017

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What if Mad Max were a ditz? Suki Waterhouse gets some of her limbs amputated by cannibals in a post-apocalyptic Texas desert. But after a frantic escape, she and her winky face-branded short shorts live to see another day. She samples the rave paradise of “The Dream” (shamanistic-weirdo-in-highly-stylized-flicks specialist Keanu Reeves), but obviously what he is promising is too good to be true. Besides, ultimately she just cares about hanging out (she actually says at one point, “Do you want to hang out or something?”), preferably with Miami Man (Jason Momoa) and his young daughter. The dialogue is often laughable. Is that intentional? I don’t care. It’s delectable no matter the intent.

I give The Bad Batch 4 Unrecognizable Jim Carrey’s out of 5 Always Welcome Keanu Reeves’s.

This Is a Movie Review: ‘The Beguiled’ Proves Sofia Coppola Still Knows How to Weave a Spell

June 22, 2017

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This review was originally published on News Cult in June 2017.

Starring: Nicole Kidman, Colin Farrell, Kirsten Dunst, Elle Fanning

Director: Sofia Coppola

Running Time: 94 Minutes

Rating: R for Natural, Untamed Sexuality

Release Date: June 23, 2017 (Limited)

Comparing films unfavorably to sitcoms is a useful technique in the critic’s arsenal. It is typically applied to movies set in the present day that features characters just hanging out, with few, if any, aspirations beyond that. It is rarely, if ever, applied to films that take place 100 or more years ago. Part of that is because television did not exist then, so the comparison would not make much sense. But it is also perhaps because if a period piece were to achieve a sitcom-esque vibe, it would actually be praiseworthy instead of ill-advised. Weirdly enough, this is how I found myself thinking while watching Sofia Coppola’s The Beguiled, which achieves that sitcom vibe in its quieter moments, which are plenty.

It is not just the characters who are beguiled, but also the audience, as the premise is not one obviously ripe for humor, at least not of the good-natured variety. Based on a novel by Thomas P. Cullinan (previously adapted into a 1971 film directed by Don Siegel and starring Clint Eastwood), The Beguiled tracks the volatility of human behavior in a small corner of a world that has fallen out of its natural order. Set during the Civil War, the film finds injured Union Corporal John McBurney (Colin Farrell) discovered by the residents of a Southern girls’ boarding school. They debate whether to give him up to passing Confederate soldiers or provide him shelter out of the kindness of their hearts. They choose to let him stay, though it is never fully clear why. The firm, but ultimately vague stance from headmistress Miss Martha (Nicole Kidman) sets the tone for the tension that permeates the rest of the film.

The sitcom vibes shine strongest in the middle stretch when the ladies and McBurney have brokered a peace, forming the premise for a show that would be titled something like The Southern Belles and the Yankee Soldier or Everybody Lusts Burnie. But like so many sitcoms, there is a layer of psychopathy or some other propensity for violence lurking just beneath the charm and just rearing to burst out. On TV, it usually never comes to that, at least not to the point of no return. But The Beguiled is all about exploring the scariest implications of a national house divided against itself crossed with burgeoning and repressed sexuality. It is as combustible as it sounds. The passionate ways of nature can be tamped down only so much by human control, and each cast member has their own beguiling and beguiled way of summoning their most passionate whims to demonstrate why that is.

The Beguiled is Recommended If You Like: Cold Mountain, Interpersonal gender dynamics, Double Indemnity

Grade: 4 out of 5 Mushrooms

This Is a Movie Review: ‘The Big Sick’ is the Best Romantic Comedy in Years

June 20, 2017

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This review was originally posted on News Cult in June 2017.

Starring: Kumail Nanjiani, Zoe Kazan, Ray Romano, Holly Hunter

Director: Michael Showalter

Running Time: 119 Minutes

Rating: R for Adults and Comedians Talking Like Adults and Comedians

Release Date: June 23, 2017 (Limited)/Expands July 14, 2017

The Big Sick follows the classic rom-com template in a lot of ways despite not  resembling any other entry in the genre in any obvious fashion. But if you look close enough, that formula is there. There’s a meet-cute, a dramatic misunderstanding, and a climactic reunion. It is usually that middle portion when lesser rom-coms start to become annoying or even offensive, but when the miscommunications happen because one half of the central couple is in a coma, the struggles along the way to that happy ending become a lot more understandable.

Based on the real-life courtship of comedian Kumail Nanjiani (who plays a fictionalized version of himself) and his co-writer/now-wife Emily V. Gordon, The Big Sick is an astute portrayal of culture clash, modern romance tics, and the workaday stand-up comedy lifestyle. Kumail hits it off with Emily (Zoe Kazan) after she kinda, sorta heckles him, they go back to his place so that they can hook up and he can show her some cool obscure genre flicks like The Abominable Dr. Phibes (she teasingly takes him to task for testing her pop culture tastes). Soon enough they are basically inseparable. Alas, Kumail has been keeping Emily a secret from his parents because he comes from a traditional Pakistani family that practices arranged marriage, so any future with her comes with a risk of being ostracized. This would all be enough conflict on its own, but on top of that, just after they break, Emily succumbs to a mysterious illness that leads to doctors placing her in a medically induced coma.

Classic rom-com humor tends to spring from witticisms and oddball characterizations, but The Big Sick’s most hilarious elements come from its knack for outrageous joke-telling. This is called playing to your strengths. Nanjiani is one of the most top-tier funnymen around today, and the rest of the film’s core stand-up crew are played by some reliable comedic heavy hitters (Kurt Braunohler, Aidy Bryant, Bo Burnham). The Big Sick wins you over because it goes broad and plentiful with its emotions. Every moment of worry over Emily’s health is counteracted with a big guffaw.

Nanjiani and company further distinguish themselves within the rom-com mold in how the make-up and reunion portion plays out. Kumail and Emily find themselves back to each other thanks mostly to the work he puts in with her parents, Terry (Ray Romano) and Beth (Holly Hunter). Romano brings the soulful gravitas he has made his specialty in his dramatic roles, but his comic chops are just as sharp as the young guns around him, and Hunter is the same spitfire we have loved for so long (her confrontation of a racist heckler is one of the film’s best scenes). While Kazan is unconscious for much of the narrative, she does not get shortchanged in the deal (SPOILER ALERT that is kind of given away by one of the film’s co-writers being alive), as she and Kumail still have to hash everything out once she is awake, which justifies the fairly lengthy running time (right around 2 hours). Ultimately, you can feel that every element of the story is in the right place; surely some elements were fictionalized, but the emotional truth is always full-to-bursting.

The Big Sick is Recommended If You Like: Knocked Up, Master of None, Ruby Sparks

Grade: 5 out of 5 Drop Ins

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