Amy Schumer is having what some might refer to as a moment. Her comedic rise has accelerated as her sketch comedy show has gained greater notoriety for its social commentary from a post-feminist feminist perspective. For many, Schumer has become a relevant and empowering creative voice, and the fact that she breaks free from the Hollywood “thin is the only beautiful” mold is refreshing. Her star is only going to rise higher as soon as audiences get a load of Trainwreck, a raunchy romantic comedy penned by Schumer herself and starring Schumer as the lead. Paired with director Judd Apatow (Knocked Up), Schumer excels and surprises in Trainwreck, a modest but appealing rom-com that’s not afraid to get real when it counts and sweet when needed.
Amy (Schumer) is a magazine writer in New York City and follows her dad’s (Colin Quinn) words of wisdom he dispensed when she was ten years old: “monogamy is unrealistic.” Amy dates and sleeps with an assortment of men. Her current boyfriend Steven (the wrestler John Cena) likes to spend time at the gym but he doesn’t quite satisfy her, at least enough not to still see other men. Amy’s younger sister Kim (Brie Larson) rejected dad and settled down with a single dad and his son. The idea of marital bliss and raising children makes Amy uncomfortable. Amy’s editor (Tilda Swinton) assigns her a profile on a sports surgeon, Aaron (Bill Hader), specifically because Amy hates and is ignorant of sports. Amy and Aaron hit it off and she confidently takes their relationship in a non-professional direction. It’s then that Aaron surprises Amy. He calls her the next day and is interested in seeing her again. Amy has to come to terms with how to navigate a relationship with a good guy who understands her and would like more.
The tone and spirit of Trainwreck is very clearly Schumer’s voice, following her brand of sexually brash humor from an unapologetic and independent perspective. Amy is a love-em-and-leave-em character who would shrug at being called a “loose woman.” Then again if we applied these same standards to men we don’t have the gender-swapped “loose man” nomenclature. Instead of the standard male playboy character who beds a plethora of sexual partners and then moves on about their day, this time it’s a woman, and while perhaps this isn’t the strongest foothold in the realm of being progressive, every bit counts (women can do it too!). Amy is unrepentant about her sexual appetites and she is not punished for them. Imagine that, a sexually liberated woman who enjoys sex and doesn’t have to suffer some physical or psychological trauma related to her desires. We’ve come a long way from Mr. Goodbar. The character of Amy is much more than just her dating habits. She’s ribald and unapologetic while finding ways to be relatable and more in depth than just the commitment-phobic lead character in a mainstream romantic comedy. Her views on relationships go back to idolizing her cad of a father and a strong sense of fatalism. Relationships can’t work out so why bother? This accentuates Amy’s already self-destructive habits, which make her in many ways our protagonist and antagonist. She’s an enjoyable character who can also be mean-spirited, petty, and push the important people in her life away from her. Her biggest challenge isn’t getting the story, holding a long-held secret, or even landing the guy, because he already wants to be with her. It’s about whether she can accept a different view of herself. That’s way more interesting and complicated than your standard rom-com fussbucket or workaholic.
The content of Trainwreck is far easier to engage with than Apatow’s previous film, 2012’s This is 40. Even though she has a cushy job and a nice apartment in the big city, Amy’s struggles with her relationship with her boyfriend, her sister, her father, and her boss, trying to please others without giving away too much of herself. Her father is the source of much of her discomfort as she and her sister debate how to take care of him in his ailing health. Where Amy views her father as an admirable straight-shooting guy who rebels against the social standards and expectations of decorum. Her sister views him as a bigoted and sexist jerk that was never much of a father. The slow acceptance Amy comes to about the degree of pain she’s dealing with and guilt related to her father is a key development. Her rejection of the “old ways” is a repudiation of her father. The arguments that she has with Aaron are realistic, and he admits that he’s uncomfortable with certain aspects of her lifestyle but he’s not forcing her to change. There are some dramatic turns in the film that require Schumer to do some heavy dramatic lifting, and she carries it gracefully, keeping in character but also losing her carefree façade. It opens up your sense of the character just as much as the actress. Trainwreck is still very much a romantic comedy and it spends its third act coalescing to its happy ending, but Schumer’s self-deprecation won’t let it get too saccharine.
The movie is also funny quite often though it ultimately gives in to more rom-com conventions than subverting them. There’s a funny sequence where Amy is trying to coax her boyfriend into being more vocally risqué during sex, and John Cena does a great job awkwardly trying to be dirty. There’s a funny moment tied to character as Amy mingles with far more straight-laced married women at a baby shower. They play a game of revealing secrets and it’s everything you would want it to be. The satirical broadsides at the tabloid and celeb navel-gazing industry are broad but quite amusing, including article topics like “Ugliest Celebrity Kids Under 6” and, “I’m Not Gay, You’re Just Boring.” Amy’s self-destructive attitude and her outer layer of confidence lead to many humorous observations and exchanges, especially with Hader. The two actors have good chemistry and bounce off one another well, capturing a fun energy of a couple that really enjoys one another’s company and exploring that. Swinton (Snowpiercer) is almost unrecognizable and quite hilarious as the unfeeling boss. The biggest scene-stealer and breakout star is the world’s greatest basketball player, Lebron. He plays the standard rom-com “concerned best friend,” even warning Amy not to break his man’s heart and having a dating debrief while playing very one-sided basketball with Aaron (all elements lampooned in last year’s rom-com spoof, They Came Together). The basketball scene is particularly amusing as Lebron dominates his friend so casually and without ego. It’s a fictionalized version of Lebron but the man just has natural comic timing and a star presence. I could totally see more acting work coming Lebron’s way if he wanted it.
However, there are jokes, storylines, and moments that don’t feel as well constructed and simply don’t work, enough that it hampers the overall impact of Schumer’s story. There’s a recurring theme of gay equals funny, notably when all of Cena’s threats to a movie patron bear a striking homoerotic quality. That scene works well enough, but the theme reappears in a late storyline where a lisping intern at the magazine played by Ezra Miller (We Need to Talk About Kevin) unleashes his inner sexual freak, which involves a lot of homoerotic foreplay and positioning. It’s a comedy angle that gets old fast. I also never believed the sentimentality attached to Amy’s father after his health worsens. Schumer tries to turn a bigoted jerk into a well-liked character and it just doesn’t connect. He has real physical struggles dealing with MS but at no point does he come across sympathetic. I sided with Kim on this one, though I think I wasn’t supposed to by the film’s end. There’s also far too many supporting characters that just kind of float along the peripheral; this is common in Apatow comedies but these characters, from a homeless bum to Amy’s work colleagues, don’t feel well integrated. There’s a misfire late in the film when Lebron holds an intervention for Aaron. The core idea would work but Lebron’s intervention participants include Chris Evert, Matthew Broderick, and Marv Albert, with the bulk of the jokes being Albert’s in-game announcing. They don’t address that the figures are playing themselves until much later in the scene, so I was wondering if somehow Broderick was Aaron’s father. It’s a miss. The movie-within-the-movie is also never that funny or satirical of Sundance indies, but thanks for the effort.
As a side note, it seems like quite a missed opportunity that the Knicks game at the end of the film did not feature the Cavs. With Lebron as a supporting character, it would seem like a natural fit to include him in the climax. My theory on this is such: the Knicks play the Brooklyn Nets and we see Paul Pierce in a Nets uniform. As NBA fans know, Pierce left the Nets and signed with the Washington Wizards for the 2014-2015 season (he has since signed with the L.A. Clippers). That means that Trainwreck must have been filming the spring of 2014, which means Lebron was still with the Miami Heat. No wonder the movie didn’t feature the Cavs in its finale. Also, in what NBA universe is Amar’e Stoudemire the star of the Knicks? Does Carmelo Anthony and his $120 million dollar contract not exist in this universe? It’s a little comical that Stoudemire’s knee surgery is given such dramatic stakes for a player that the Knicks were looking to dump.
Trainwreck is by no means the disaster implied by its title. Even Amy isn’t really a trainwreck of a person. She can be mean and self-destructive, but her shocking behavior isn’t all that shocking. She drinks and has sex with multiple partners and does not feel shame in this. Look out, world. Yet it’s Schumer’s sprightly comedic voice that shines throughout the film even when certain jokes or storylines misfire. Make no mistake, Trainwreck is also a star vehicle for Schumer and she earns it. She even sheds some tears in very effectively dramatic moments. She can do it all (refraining from obvious bad joke…) and still be funny whether she’s cutting someone to size or the butt of a joke. Trainwreck is an enjoyable romantic comedy, another in Apatow’s sweet lineup of raunchy and somewhat old-fashioned romances with their happy endings. There should be more than enough to tide Schumer’s fans and for her to make new ones.
Nate’s Grade: B