As an avid devotee of The Room, and a connoisseur of crappy cinema, I have been looking forward to this movie for literal years. I’ve been fascinated by Tommy Wiseau’s movie ever since I first saw it in 2009, and I’ve since watched it over 40 times. In my review for the movie, I said if I had to pick only five DVDs to take with me on a desert island, I might just select five copies of The Room. It’s that rare form of bad movie that is a thousand brushstrokes of bad, where you can discover something new with every viewing, and you desperately want to have your friends discover this miracle of filmmaking. It’s become a modern-day cult classic and theaters have been playing rowdy spoon-tossing midnight screenings of Wiseau’s film since its initial 2003 release (humble brag: I’m responsible for it playing on a monthly basis in Columbus, Ohio since 2009, the only regular public screening in all of Ohio). From its successful re-branding as a “quirky new black comedy,” fans had burning questions that needed answering, and that’s where Room actor Greg Sestero co-wrote a behind-the-scenes book, The Disaster Artist. One fan was multi-hyphenate James Franco, who purchased the adaptation rights, attached himself as director and star, transforming into Wiseau and tapping his younger brother to play Sestero. Who would have guessed all those years ago that these beleaguered actors would soon have Hollywood celebrities portraying their astonishment? The Disaster Artist might be one of the best films of the year by chronicling one of the worst films ever made.
Greg Sestero (Dave Franco) is a struggling actor in San Francisco when he meets the Teutonic acting force that is Tommy Wiseau (James Franco). Tommy doesn’t behave like anyone else, for good or ill, and it inspires Greg to become friends with him. Tommy says he’s the same age as Greg, though is clearly double, and that he’s from New Orleans, though he definitely sounds more vaguely Eastern European. Tommy also has a lot of money and elects to move to L.A. to make it in the film industry, and he wants his best friend Greg to join him. Greg finds some beginning levels of success but Tommy is rejected at every turn, determined as too weird and off-putting by casting directors. He doesn’t want to play a villain; he sees himself as the hero. Tommy won’t wait for Hollywood and decides to make his own movie. He’ll write it, direct it, and be the star, and Greg can be his onscreen best friend. The Room, Wiseau’s magnum opus, was a stunning document of filmmaking ineptitude that had to be seen to be believed, and many of the people involved were certain it would never be seen at all.
I was worried that the film version would simply be many painstaking recreations of scenes from The Room and watching characters snicker. Thankfully, the recreations are kept to a minimum and The Disaster Artist personalizes the story in the friendship between Tommy and Greg. If anyone has read the book, you’ll know there is a wealth of juicy anecdotes about the bizarre onset antics and about the human enigma himself, Wiseau. The film could have been three hours long and just thoroughly focused on all of the crazier aspects of the behind-the-scenes and I would have been satisfied. However, the ace screenwriters, Scott Neustadter and Michael H. Weber (The Fault in Our Stars), have elided all of those crazy details into a story about a personal relationship. The most memorable tidbits are still there, like the 60 plus takes needed for Tommy to say one line, but the sharper focus allows the film to resonate as something where you can genuinely feel invested in these people as characters rather than easily mocked send-ups. Greg feels greatly put upon by Tommy but he admires his fearlessness, and deeper down he feels indebted to Tommy for getting him onto the road to his dream. Thanks to Tommy, Greg was able to move to L.A., find a place, become an actor with representation, and book commercial spots. Tommy is also an anchor weighing him down. Greg will routinely have to place his rising career opportunities at the mercy of Tommy’s capricious sense of loyalty. It’s a movie that explores the value of friendship and the lengths people will go.
This is also an extremely funny movie. Part of the allure of The Room is how it feels like a movie made by space aliens who didn’t quite understand human interactions. The head-scratching choices and dropped subplots and redundant, nonsensical plotting are all given examination, allowing the audience to be in on the joke even if they have never seen Wiseau’s actual movie. This is a film completely accessible to people who have never seen The Room; however, if you have seen The Room, this movie is going to be 100 times more fascinating and enjoyable. The sheer bafflement of what transpired is enough to keep you chuckling from start to finish. The Disaster Artist is wonderful fun, and the actors involved are here because they love Wiseau’s movie. The celebrity cameos are another aspect that helps to add to the film’s sense of frivolity, spotting familiar faces in roles such as Casting Agent #2 (Casey Wilson), Actor Friend (Jerrod Carmichael) and Hollywood Producer (Judd Apatow). Watching everyone have a good time can be rather infectious, but The Disaster Artist succeeds beyond the good vibes of its cast.
Rather than lap up the easy, mean-spirited yuks, The Disaster Artist goes further, following a similar point of view with 1994’s terrific Ed Wood by portraying these men as deeply incompetent filmmakers but also as sincere dreamers. Wiseau is clearly overwhelmed by the demands of being, let’s be generous, a traditional filmmaker, but he is also a person who set off to achieve a dream of his own. He was denied other avenues so he took it upon himself, and a mysterious influx of money he doesn’t like to discuss, and this self-made-movie star built a vehicle to shine brightest. Sure, ego is definitely a factor, though one could argue it plays some degree in all creative expression needing an audience. Wiseau didn’t let a little thing like ignorance of storytelling, film production, or how to handle cast and crew as human beings with needs stop him from plowing ahead to prove his doubters wrong. The filmmakers definitely find a certain nobility in this artistic tenacity, as did Tim Burton with Ed Wood. It’s natural to pull for the underdog, even an underdog that is so naïve it might be worrisome. You can laugh freely at Wiseau, and you will, but you may also start to admire his gumption. As the opening barrage of celebrity interviews posits, you could not make something like The Room even if you were the greatest filmmaker on the planet. It is nothing short of an accidental masterpiece. It is a movie that has entertained millions of people and one they feel compelled to share with friends and family, compelled to bring others into this strange, beguiling cult of fandom. While Wiseau may not have made a “good movie,” he has made one for the ages.
James Franco (11.23.63) deserves an Oscar nomination for playing Tommy Wiseau. I’m serious. He is channeling some Val-Kilmer-as-Jim-Morrison lightning when it comes to simply inhabiting the spirit of another person onscreen. It’s crazy that a movie so bad could inspire another movie that might legitimately compete for legitimate awards. James Franco is entrancing with his performance as he fully channels Wiseau, an almost mythic figure that we have never seen the likes of before. The accent is pitch perfect and impossible not to imitate after leaving the theater. Wiseau can be manipulative and cruel but he can also be generous and selfless. He takes great ownership over his friendship with Greg, so he believes all of his actions are to help their unique bond, even when he’s pushing that same person away. He so desperately wants acceptance but seems incapable of achieving it on anybody’s terms but his own. Wiseau is a fascinating film figure, and the movie does a fine job of neither overly romanticizing him nor vilifying him. Even despite his missteps, you may find yourself feeling sympathy for Wiseau, and that’s a major credit to the screenwriters and James Franco’s magnetic performance.
The other actors, a.k.a. everyone in Franco’s sphere of friends, are committed, enjoyable, and plugged into why exactly audiences have grown to love The Room for years. Dave Franco (Now You See Me 2) is effectively the perspective of the audience, deliberating how much of Tommy to put up with and when to walk away. Seth Rogen (Sausage Party) gets the most sustained comedic run as a script supervisor who is bewildered by Wsieau’s methods. Alison Brie (Netflix’s GLOW) is our chief source of confused expressions as Greg’s girlfriend. Ari Graynor (I’m Dying Up Here) wrings great laughs from her awkwardness with Wiseau as filmmaker and onscreen anatomically-challenged lover. Megan Mullally (Will & Grace) is Greg’s disapproving mother who worries about what kind of relationship her son has with a much older man. Zac Efron (Baywatch) is hilariously excitable as the inexplicable drug dealer, Chris R. Speaking of excitable, Jason Manzoukas (The House) and Hannibal Buress (Spider-Man: Homecoming) are a great team as the film equipment rental guys who can’t believe their luck with Wiseau. Even two-time Oscar nominee Jacki Weaver (Silver Linings Playbook) gets some nice moments as an older actress who justifies in a heartfelt message why exactly everybody on set would go out of their way to work on such an awful movie.
If you’re a fan of The Room, then you’ll absolutely adore The Disaster Artist, and if you’ve never seen The Room, you’ll still find plenty of entertainment in Franco’s film. Wiseau’s 2003 film has to be experienced to be fully believed. The film-about-his-film provides the added extension of a coterie of characters to share in our bemusement and bafflement, providing a chorus of commentary. However, the movie isn’t all jokes at Wiseau’s expense. It evolves into a love letter for the power of art to bring distaff people together with a shared dream. Like Ed Wood, Wiseau might be incompetent by traditional measures of filmmaking but he ignored the naysayers and followed his artistic vision. Under Franco’s direction, he’s a modern-day Don Quixote, or just a really weird guy who lucked into a miraculous alchemy that gave birth to a cult classic. At the end of the movie, Tommy thinks he’s a failure. Greg reminds him to listen to the audience reaction. They are hooting, hollering, applauding, and having the time of their lives. He’s responsible for that and he should be proud of his accomplishment. I unabashedly love The Room. I introduce the theatrical screenings in Columbus. I loved The Disaster Artist book. This movie is everything I was hoping for, and it just so happens to be one of the funniest, most genuinely pleasurable films of the year.
Nate’s Grade: A-
Following the “secret life of” Pixar story model, Seth Rogen and Evan Goldberg’s hard-R animated movie about anthropomorphic food literally uses just about every possible joke it can from its premise. I was expecting plenty of puns and easy sexual innuendo, but what I wasn’t expecting was a religious parable that actually has substance and some crazy left field directions the movie takes that made me spit out my popcorn. Sausage Party seems like a one-note joke as we follow Frank, a sausage (voiced by Rogen), and his girlfriend Brenda, a hotdog bun (Kristen Wiig) and their food friends over the course of the Fourth of July weekend. The supermarket items have been told that loving gods will take them to a wonderful promised land. The reality is far worse as the humans consume and “murder” the supermarket products. The messy food massacre sequences are some of the cleverest moments in the movie, which too often relies on a lot of easy profanity and vulgarity and broad ethnic stereotypes (it earns points for pointing out its lazy ethnic stereotypes too). However, when it veers into its religious commentary and the plight of the atheist, the movie becomes far more than the sum of its sex jokes. It’s consistently funny with some hard-throated laughs toward the end, especially in the jubilantly demented third act that takes an extreme leap first into violence and then into food-based sexuality. The concluding five minutes might be some of the most insane images put to film I’ve ever seen. The only equivalent I can even think of is the concluding act of Perfume. I credit Rogen, Goldberg and their team for taking a potentially one-joke premise and finding something more interesting and substantial, while still finding plenty opportunities for crass humor when called for and then some. Sausage Party is not a film for everybody but it’s also a film that is hard to forget, although you might feel guilty about munching on your popcorn at some point.
Nate’s Grade: B
The first Neighbors was a pleasant surprise, a gross-out comedy with heart, cross-generational appeal, and a surprising degree of sincere attention to round out its cast and supporting characters. For my money it was a comedy that checked all the boxes. Now two years later comes a sequel that looks to repeat just about all the plot mechanics of the first except with a sorority replacing the fraternity. It looks like it’s checking the standard more-of-the-same sequel boxes. I was again pleasantly surprised, especially how little Neighbors 2 repeated the comic setups and jokes of the original (the malignant comedy disease known as Austin Powers Sequel Syndrome) and how much I still enjoyed these characters. Seth Rogen and Rose Byrne are now expecting their second child and trying to sell their house. They have to pass a 30-day escrow period without their buyers rescinding their purchase. That’s when Chloe Grace Moritz transforms the next door home into an off-campus sorority. She’s appalled at the gross and derogatory nature of fraternity-hosted parties and an unfairly arbitrary rule that sororities can’t host parties. She and a couple one-note stock fiends throw a female-friendly party house (Feminist Icon parties and bawling your eyes out to The Fault in Our Stars) where they won’t cotton to uncheck male ego. I was laughing throughout the movie with some big laughs at key points. Rogen and Byrne maintain a wonderful comic dynamic and the warring generations premise can still produce plenty of entertaining set pieces. The jokes can be sly and come at you from different angles, taking you be surprise (a “bun in the oven” joke had me almost spit out my drink). There are some things that don’t quite work, mostly how listless and self-involved the female coeds come across and some of their hollow arguments in the name of feminism. I guess equality does mean that women can behave as badly as men. Neighbors 2 replaces a bit of the heart of the first film with an excess of slapstick. There’s also a weird corporate synergistic tie-in with Minions that never quite settles. Still, Neighbors 2 is a satisfying sequel that reminds you what you enjoyed about the first film while not being indebted to what made it succeed.
Nate’s Grade: B
Dizzying with its dialogue, Steve Jobs tells the story of its titular man through three Apple product launches, 1985’s Macintosh computer, 1988’s Apple rival and failure, Next, and 1998’s iMac, the beginning of the re-emergence of Apple into ubiquity. It’s really an Aaron Sorkin movie above all else, which means we get absurdly intelligent characters walking and talking at rapid-fire with brilliant one-liners and snappy dialogue that bristles with musicality to it, the kind that your ears perk up for. It’s a feast for the ears; however, Steve Jobs is really an emotionally cold stage play on film. Danny Boyle (Slumdog Millionaire) is the director but the staginess of the conceit is too much for the visually nimble filmmaker to overcome. There are a few small visual flourishes as inserts but the star is Sorkin’s verbose screenplay. We get a glimpse into the prickly, egotistical, bullying, visionary, and curious man that was Steve Jobs. His continual denial of being the father to his daughter is a source of great contrarian insight. The structure of the script lends itself to repetition and artificiality. All these characters keep turning up and having these important conversations at these moments? After a while it feels like the characters are talking in circles and waiting for catharsis, and the concluding ten minutes is a detour into unearned sentiment. The movie and its major themes just do not come together with the clarity or force that the filmmakers believe. Michael Fassbender is superb as Jobs and there isn’t a bad performance in the bunch. It’s an engaging movie in the moment but I don’t feel like I know Jobs any better than before. In attempting to tell the life of one influential man, Sorkin has made the movie about himself, but The Social Network this is not.
Nate’s Grade: B
Well, so maybe you’ve heard something about this little movie, The Interview? Seth Rogen and his writing partner Evan Goldberg (This is the End) weren’t intending to spark an international incident with their comedy about a pair of idiots trying to assassinate North Korea’s glorious leader, but after a few crazy turn of events, this little movie became a quixotic symbol of American patriotism. How dare North Korea get to dictate what Americans can and cannot see! Well, now The Interview is widely available in digital markets and we can agree that the fervor was for naught. The film is most shaky in the beginning, setting up Rogen as a TV producer and James Franco as the obnoxious talk show host. Once the boys get tangled up with the CIA, and especially once Kim Jong-Un comes into the picture (played by a much better looking actor, might I add, North Korean readers) the movie starts to even out and find its comic rhythms. While the ending is a little ho-hum, there are nice payoffs for several jokes and a poison strip has a wild and very funny comic development. I also enjoyed the emerging bromance between Franco and Kim Jong-Un that danced around with being subversive. However, there are two problems with the film. It doesn’t get risky enough (too many penis jokes) and James Franco. He’s been a capable comic actor but always in supporting or as a foil. Franco is not a comic lead, and his performance is much too amped and broad, needing to be dialed down to feel less desperate in overexcitement. It’ll be more a footnote in history than comedy, but The Interview is a fairly innocuous comedy that does get better as it chugs along, though clearly hits a ceiling. It’s certainly not anything worth going to war over.
Nate’s Grade: B-
The first side-splitter of the summer, Neighbors is a bawdy comedy that has enough big laughs that you may miss how well it draws its characters, punctuating preconceptions. The premise is boiled down to family versus frat, as a pair of new parents (Seth Rogen, Rose Byrne) has a college fraternity, lead by Zac Efron, move next door. You expect the raucous humor, and there are plenty of well-conceived visual gags and payoffs. I did not expect to like the characters as much or see different shades of them. Rogen and Byrne are not yet ready to be official grown-ups, and their attempts to hang with the frat parties are hilarious as well as cringe-inducing. I especially appreciated that Byrne is given the chance to be just as careless and selfish as the men; there’s even a fight between husband and wife who is the Kevin James in their relationship. Byrne is terrific and deserves even more work that lets her cut loose and be in on the joke. Then there are the frat brothers who could easily come across as brainless hedonists, and many do, but Efron and his co-bro Dave Franco have an engaging relationship where they fear what happens next after school. The movie’s theme isn’t subtle (fear of growing up) but provides enough extra substance to make the film more than the sum of its jokes. And it’s quite funny. Rogen and Byrne have great chemistry, their angry riffs are often amusing, and the escalating tit-for-tat prank war is memorable and entertaining. Neighbors works on a cross-generational level; as a man in my 30s, I related to Rogen and Byrne’s plight but also their shifting concepts of what they consider fun that they once may have mocked in their younger years (“I love brunch”). Neighbors builds to a nice climax, the cast is uniformly funny, and with enough surprising shades with the characters, it satisfies the R-rated funny bone.
Nate’s Grade: B
There are three apocalyptic comedies this year and Seth Rogen’s This Is The End is undoubtedly the biggest in profile. The plot is simple: Rogen and his pals, Jonah Hill, Jay Baruchel, Craig Robinson, and Danny McBride, are holed up in James Franco’s lavish home while the world comes to an end outside. Your enjoyment level for this movie will largely depend on your enjoyment level of the cast since they are playing self-involved, idiotic versions of themselves. While it dithers with the occasional self-indulgent sidetrack, I found Rogen to be savvy about providing enough for an audience to invest in. There’s a slew of Entourage-style cameos, though mostly pre-apocalypse, to ease us into the film. It’s fun seeing Michael Cera and Emma Watson (Perks of Being a Wallflower) play against type, but there’s so many blink-and-you’ll-miss-them figures that it can be tiring. But once it rains fire, demons emerge, and the righteous are Raptured, the movie gets outlandish and even better. For a solid hour it’s a survival tale where egotistical actors are at one another’s throats and it genuinely gets funnier as it goes. The comedy is, as you would expect, completely vulgar but hilarious often enough. A shouting match between Franco and McBride over masturbation habits, complete with angry, enthusiastic miming, is a thing of comic glory. I was not prepared for how well Rogen and his collaborator Evan Goldberg (they wrote and directed the movie) are able to handle suspense, special effects, and a climax that is equal parts silly and heartwarming. There is a rewarding payoff to a character arc amidst all the talk about penises, human and satanic, and cannibalism, and that’s saying something. I only wish the ending had more punch, settling for an extended and mostly lame pop-culture cameo that seems to sap the good times. Still, if you had to spend the apocalypse with a bunch of guys, you could do worse.
Nate’s Grade: B
If scientists could take time away from, you know, curing diseases, and craft the perfect blend of “meh” in a lab, it would be The Watch. It’s not particularly offensive or terrible but it’s certainly not good. The humor of boys misbehaving and talking tough doesn’t ever seem to get further than the initial concept. The movie ends up becoming a more crass version of Ghostbusters, with a special fascination for the male member. This is a very penis-obsessive movie. Usually guy-centric sex raunchy comedies will definitely feature strong discussion/comedy revolving around male genitalia, but this is one of the few movies where complete storylines hinge upon penises (weird imagery, I’ll admit). Ben Stiller, Vince Vaughn, and Jonah Hill are more annoying than anything else. Poor Rosemarie DeWitt as the underwritten wife role in what is essentially a boys-behaving-badly movie (also her second 2012 movie where she’s trying to get pregnant). When the movie goes full-force into action mode, it loses just about any semblance of comedy. I laughed about three times, and that was thanks to Richard Ayoade (TV’s The IT Crowd) and, believe it or not, Will Forte (MacGruber). Sitting through 105 minutes with little laughs, irritating characters, and poorly conceived action in place of genuine comedic payoffs, well it’s not exactly a recipe for a successful summer comedy. And yet, with all its obvious faults, I couldn’t hate the movie as others have. It’s certainly not likeable but it does go about its business with a certain swagger, albeit misguided. Cocky loudmouths failing at entertainment are still marginally better than artists who don’t even try. It sounds like I’m reaching, and I am, but The Watch, certainly a bad comedy, may eventually be worth a watch when, you know, it’s on TV and you can half-heartedly pay attention to it while you go about your day.
Nate’s Grade: C-
A funny thing happened after seeing The Guilt Trip. My father asked me what else Seth Rogen had been in that he had seen. And I was stumped (in retrospect, I could have said 50/50). I think that summarizes the mishmash of audiences for this mother/son road trip comedy. Rogen teams up with the ultimate Jewish mother, played by Barbara Streisand (Meet the Fockers), to travel the country. From that premise alone, it’s pretty much exactly everything you’d think it would be. The comedy is rather flat mostly because both characters feel mismatched from a comedy perspective; neither is given enough edge. I was surprised then when I found the warmhearted dramatic parts so much more skilled than the comedy (remember, sliding scale). The heart is better than the laughs. The deteriorating mother/son relationship is given some thoughtful consideration, and there are a few sweet emotional turns at the end to find a satisfying departure. It’s a rather nice movie, nothing too special or interesting, but nice can be perfectly fine under the right circumstances. I’m a Rogen fan and always enjoy his cocksure presence onscreen, and Streisand, at 70 years old, is still a natural movie star. The post-credits outtakes point to funnier material from their pairing, but director Anne Fletcher (The Proposal) sticks to the well-worn path of the road trip movie. It’s fairly inoffensive and safe, but The Guilt Trip has some light-hearted pleasures to offer its older audience, especially middle-aged parents and grandparents. Simply put: if you have to see one older-appealing movie with your family this holiday season, Parental Guidance or The Guilt Trip, take the trip.
Nate’s Grade: B-
50/50 is based upon the experience of screenwriter Will Reiser, a writer for HBO’s Da Ali G Show who contracted cancer before his 30th birthday. Reiser’s real-life travails with his buddy Seth Rogen (who serves as executive producer) through the good times and bad. I guess when you get cancer it helps to have an established movie star as your good friend. It also helps when you write a terrific script, which Reiser has accomplished. Originally titled I’m With Cancer, I guess the studio felt that a movie with “cancer” in the title was a hard sell to mass audiences (On a related note, Showtime’s comedy-drama The Big C, about Laura Linney finding the humor through cancer treatment, was previously titled The C Word. I don’t know about you, but when I heard “the c word” the first thing that comes to mind is not “cancer.”). Even with a more oblique title, 50/50 manages to walk between comedy and drama with flair. It’s probably the funniest movie you’ll ever see about cancer. Definitely funnier than My Sister’s Keeper.
Adam (Joseph Gordon-Levitt) is a relatively healthy 27-year-old. He likes his job writing for a Seattle National Public Radio station. He likes his girlfriend, Rachel (Bryce Dallas Howard), an aspiring painter. He likes his best friend, Kyle (Rogen), a dude prone to speaking whatever is on his mind. Then one doctor’s visit changes everything. Adam has a very serious form of spinal cancer. He begins chemotherapy to try and stop the tumor’s growth. Rachel drives him to his hospital treatments, helps him during his long nights of nausea, but ultimately it proves too much to bear. She leaves him. Luckily, Adam has a young therapist, Katherine (Anna Kendrick), helping him put his life in order. Adam’s chances of surviving this rare cancer are exactly as the title proclaims, 50/50. As he comes to grips with the measures needed to survive, Adam finds himself growing closer to his therapist in a completely unprofessional degree.
50/50 may be the least sentimental movie I can recall about the realities of living with cancer, and that is its greatest attribute. That doesn’t mean that the movie doesn’t cover serious issues in a flippant manner. Instead of hitting cheap sentiment and milking cancer for easy tears, the movie, thanks to Reiser’s sharp script, forgoes false feelings and finds something more rare and true. There’s no real playbook for something as unexpected as a person in their 20s being diagnosed with terminal cancer. It seems like a cruel irony to be stricken with an illness so young. Adam doesn’t drink, doesn’t smoke, and doesn’t even drive due to the danger. He’s pretty mild-mannered and a bit of a pushover. Adam tries to not let cancer get to him, to shrug off the heavy implications, and to just make it seem like any other personal setback. If he doesn’t treat it like a big deal, maybe it won’t be and his friends and family can follow his lead. This kind of self-manufactured blasé attitude, even in the face of cancer, seems like an apt approach for a younger relaxed generation. Naturally, this denial-heavy approach doesn’t exactly work. It’s too easy to confuse numbness with acceptance. Fortunately, Reiser does not let his story slip into easy maudlin theatrics. We don’t need anybody reminding us, or Adam, how serious his situation is. On the other hand, we also don’t need anybody moralizing about any self-help slogans. Not everyone sees adversity as a blessing into Discovering Who You Truly Are. Reiser refrains from his characters making anything approximating Big Life Statements. Cancer does not lead to automatic personal epiphanies. If it did, we’d have a lot more people inhaling carcinogens and volunteering to work in the Chernobyl ruins.
50/50 doesn’t ignore the sometimes odd and dark humor that arises from life’s predicaments. That means this is the only cancer movie where the guys try and use the disease as a way to convince girls to sleep with them. At no point do I remember this occurring with Terms of Endearment or Beaches. And this opportunistic babe hunting doesn’t make the boys come across as sleazy. Adam can’t even enjoy the one-night-stand as his back pain robs him of the pleasure of his nubile well-wisher. The tone is very controlled. The raunchy comedy is not a distraction; at no point does any situation feel like a comedic setup. The comedy comes from the characters being genuine to who they even through the trying circumstances. If your friends are funny, chances are they’ll still be funny talking about cancer. The humor doesn’t make light of things nor does it just play everything for laughs. Humor is how we humanize, how we make the insurmountable digestible.
50/50 also treats its characters with a bittersweet sense of reality; these people are flawed and relatable. They are not instantly made into self-actualized saints thanks to cancer. Adam’s girlfriend actually breaks down because she cannot handle the extra responsibilities and emotional wear and tear. Their relationship fizzles. This seems far more realistic considering many people will feel like they did not sign-up for sleepless nights, 24-hour care, and watching their loved one waste away. It’s a strong individual that can endure that kind of collateral pain, but the movies make it seem like every romantic partner is unnaturally selfless. They become ideal partners, but really most of us would just bail. Reiser easily could have easily written his ex-girlfriend as an insensitive shrew. While she does cheat on the guy, thus making her easy to dispel, Howard makes her vulnerability relatable. She even comes back trying to make amends, forcing kisses upon him to weaken Adam’s resolve. Kyle relishes the opportunity to finally be able to tell off Rachael, a girl he admits to disliking from the start. I don’t get the instant hate, but maybe it’s my complete adoration for Howard even when she’s playing a bad girl that blinds me to her offenses. To dismiss her as a “bitch” seems unfair. How would you react if your boyfriend/girlfriend were suddenly diagnosed with cancer? Could you last?
I found all of the characters to be empathetic and relatable (though a lead who waxes about the glory days of radio and works for NPR seems a bit hipsterish), especially in their personal struggles surrounding Adam’s illness. Adam’s mother, Diane (Anjelica Huston), can be overbearing and would have easily been kept as a caricature in other movies. In 50/50, the film examines her own struggle – a husband with Alzheimer’s who can’t talk to her and a son with cancer who chooses not to talk to her. The isolation she feels, the loneliness, always putting other people’s needs ahead of her own, this is culmination of the caregiver, a role as I’ve stated that too often gets canonized. In 50/50, the reality of living with illness is dealt with in a meaningful manner. The people surrounding you are also affected by your illness. You cannot shut them out to spare them from pain. Adam realizes this too as the film progresses to its moving conclusion.
The heart of 50/50 concerns two sets of relationships. The one that will catch the most attention is Adam’s budding romantic relationship with his therapist. Their romance feels like it emerges naturally, albeit in a slightly hurried up pace for our small timetable. It’s a romance built upon the chemistry of the two actors, the strength of their individual performances, and the fact that Reiser forgoes anything obviously romantic. He cleans out her car. She gives him a ride home. It’s little things that seem like they matter on a personal level, not the outsized theatrics of romantic gestures. The movements are small but they add up, and we can feel it too. So when Adam, at his lowest point, calls her and says, filter down and radiating in emotion, “I bet you’d be a good girlfriend,” it’s a moment that feels earned. I also greatly appreciated Katherine’s own insecurity about being a therapist. Too often movies depict therapists as omniscient beings that have a fortune cookie answer for all of life’s mysteries. Kendrick hides behind evaporating smiles as her character’s defense mechanism. In 50/50, we get to see a character that is honest about her insecurities about a job that advises others. It’s refreshing. The other main relationship is between Adam and his best friend, Kyle. His best buddy is his spark, the guy who gets him out, who shakes him from moping around. He cares but goes through unorthodox methods to show that care, including trash talking and ball busting. He remains likable to his shaggy core because he has Adam’s best interests in mind, even if that means scoring with girls.
Director Jonathon Levine (The Wackness) gives the movie an improbably beautiful look. This is one cancer comedy that is simply pleasing to watch for the cinematography alone. He doesn’t overpower the narrative with self-aware visual touches, though there is one that stands out. When Adam receives the news from his doctor, the audio becomes distorted after the shocking word “cancer” is uttered. The picture becomes blurred. The world seems to have been swept away. I imagine this sonic body blow is pretty much how Reiser recalls receiving the news, and if not it still feels authentic. The score by Michael Giacchino (Up, Super 8) is subtle and doesn’t intrude too often, ably assisting the drama instead of smothering it.
50/50 is an unsentimental film that manages to be moving and genuinely entertaining on its own terms. It can be rude but that doesn’t mean it lacks sincerity. The characters and their dilemmas feel all too relatable, even the ones we hope don’t become us. The 50/50 production has followed a subdued edict, forgoing sappy melodrama and easy pathos. These emotions are earned the old fashioned way, through characters we care about and drama that feels truthful. The mixture of the course and sweet gives the film a decidedly Judd Apatow (Knocked Up) flavor even though his name is nowhere to be seen. Gordon-Levitt, who at this point can do no wrong in my eyes, gives one of the best performances of his already accomplished career. The comedy, lead by Rogen’s obnoxious best friend, keeps the movie from being bogged down in melodrama. It’s the only way to stay sane, and 50/50 recognizes this and delivers a film that earns its tears and laughs.
Nate’s Grade: A-