A Freak and A Geek

Judd Apatow has always had a knack for merging the raucous and rowdy with the heartfelt in both tv and film. His better efforts like “Freaks and Geeks”, “Knocked Up”, and “The 40 Year Old Virgin” are astute examples of this kind of fine tune balancing but as of late he had seemed to lose his touch a bit as anyone who saw the mostly sentimental and unfunny “This is 40” can attest. I’m happy to report that “Trainwreck” starring and written by the brazen and fearless it girl comedienne of the moment Amy Schumer is a fine return to form (possibly because Apatow was just directing and not writing this time). It may also become, in my humble opinion, the most emotionally satisfying comedy of 2015.

The film begins in flashback as Amy and her young sister are getting tough love advice from their philandering father Gordon, wonderfully played by former SNL alum Colin Quinn, as well as the news of their parents divorce. It’s instilled in Amy at a young age that monogamy is by no means the answer to eternal happiness and when we now meet Amy (as in Schumer) twenty odd something years later as she’s plowing through guy after guy in great succession like a lusty female Alfie counterpart. These scenes are more engaging than expected due not only to Schumar’s own irreverent humor infused throughout but also because she’s such an unassuming down to earth everywoman screen presence (as opposed to some unapproachable club hopping waif).

And not only is Amy’s active sex life seemingly unending but she also has an enviable job as a writer/columnist at S’Nuff magazine in Manhattan where she’s been assigned the job of profiling a famous sports doctor by the name of Aaron Connors (Bill Hader of

SNL and “The Skeleton Twins”). Amy and Aaron meet awkwardly at his office due to her lack of interest in sports but a few followup sessions later they spark a gentle friendship. The friendship soon turns romantic after dinner and a few drinks out on the town one night and Amy makes Aaron yet another conquest and notch on her belt. But now the good doctor is pursuing the relationship further post consummation much to Amy’s chagrin since she isn’t so intent on settling down (which would force her to change her current bed hopping ways and grow up).

And man children, or in this case lady children, who are forced to come to terms with their lives and really mature as adults for the first time is familiar Apatow territory for sure. But in this case the familiar becomes refreshing with the aid of Schumar’s spiky humor permeating throughout her unpredictable performance. She convincingly portrays her character’s conflict of whether to hold on to her philandering tendencies or give commitment a valid shot as well as hitting some dramatic moments along the way (her speech at a funeral at one point in particular lends itself to some surprising dramatic depths). It also doesn’t hurt that Hader’s Aaron makes for such a likable romantic lead and occasional comedic sparring partner for Amy. Hader, similar to Schumer, lacks conventional matinee idol looks but has a quick wit and inherent decency which is not too dissimilar to the likes of a young Henry Fonda or even Jack Lemmon. And Hader’s amusing scenes with favored star client and concerned buddy LeBron James, playing himself, are a surprisingly welcome treat in part due to LeBron’s own formidable comic timing (and self-awareness).

But there are no slackers in this supporting cast which gives the film considerable mileage over the story beats. Quinn is, by turns, tender and crass as Amy’s ailing dad. The lovely Brie Larson (“Short Term 12”) has some touching moments as her more responsible and family oriented younger sister. And a shockingly glammed up Tilda Swinton (“Michael Clayton”) steals every scene she’s in as Amy’s icy and disenchanted editor boss. At one point Swinton abruptly stops Schumar mid an excuse explanation and quips “Is this your one woman show...cause if so I haven’t got a ticket.” And WWE superstar John Cena is also deft as a deluded muscle bound boy toy of Amy’s earlier in the film (his passive aggressive tirade at some audience members on a date attempting to watch a movie is a hysterical and ribald highlight).

One could argue that beneath the uniformly fine ensemble acting and rampant pop culture references there lies a rather old fashioned love story at play here. And that’s not untrue nor is there need for a couple of unnecessary subplots towards the film’s somewhat dragging denouement (one involving Amy and a young intern could have been taken out of the film altogether such a shameless plot device it is).

But “Trainwreck” is so confidently executed and performed such minor quibbles can be forgiven. And I do look forward to seeing what route Apatow and Schumer’s battered train decides to take next.