by Josh Sewell
In this case, he helped create a compelling vehicle for audiences to see what’s special about comedian Pete Davidson after years of being underutilized on Saturday Night Live. I’ll admit I’ve never been his biggest fan, but his work in this surprisingly poignant film made me a convert.
He plays Scott, a guy in his mid-20s who has been stuck in an extended childhood since he was seven. That’s when his firefighter father died saving people in a hotel inferno. He claims to have a dream of becoming a tattoo artist, but he’s not doing anything constructive to pursue it. That includes still living at home with his overworked, exhausted mother (Marisa Tomei).
After his little sister (Maude Apatow) heads off to college, Scott’s world is rocked when he discovers his mother has started dating again. Even more shocking is that it’s another firefighter (Bill Burr). Rather than accept this new development like an adult, he lashes out and sets off a chain of events that will force him to confront his grief and decide whether he wants to grow up or stay an overgrown child forever.
If you’re not a fan of Apatow’s previous work, I’m guessing The King of Staten Island won’t do much to change your opinion. Like his other movies, it’s too long for no real reason (The 40-Year-Old Virgin is still the only Apatow film under two hours – barely) and there’s a ton of material that sensitive viewers might fight objectionable. There’s also a difficult – some might say unlikeable – protagonist at the center of the narrative, and slow, incremental character growth isn’t always a treat for people expecting a fun comedy.
Fortunately, that departure from most of Apatow’s big screen projects is what makes it work best. The fact that it’s a comedic drama rather than pure comedy puts in in the same category as Apatow’s television work (like Freaks and Geeks and Girls) and Funny People (starring Adam Sandler and Seth Rogen), which I loved and think is one of his most underrated films. That means there aren’t a lot of moments that bring massive, holding-your-belly laughs, but the narrative makes up for it with a realistic focus that caused me to wipe more than a few tears.
The King of Staten Island is a character study, above all, which works because there’s such a compelling actor at the center. Because Davidson helped co-write the screenplay, because the story is loosely based on his own life (his father was a NYC firefighter who died in the 9/11 attacks), and because he’s finally found a vehicle that plays to his strengths, viewers will get the chance to see a promising new side of the actor.
Those who only know him (like I did) from the lackluster material he’s given on SNL, or as tabloid fodder because of his relationships with Ariana Grande and Kate Beckinsale, are in for a surprise. Here’s hoping this leads to a new phase in Davidson’s career; I know I’m certainly curious about his next moves.
Plus, Apatow’s talent for casting means he surrounds his relatively new lead actor with a staggering number of heavy hitters in supporting roles. Tomei is terrific (as usual) playing Scott’s mom, who has to juggle her affection for her still-grieving son with tough love to get him to grow up. Burr, primarily known for his stand-up comedy work, is outstanding as the new semi-father figure in Scott’s life, taking what could’ve been a clichéd role and turning it into a nuanced, lived in character.
Steve Buscemi and Pamela Adlon, who are always a welcome addition to any project, show up for a handful of scenes and knock them out of the park. Apatow’s daughter Maude is also good as Scott’s little sister, although she doesn’t get much to do aside from be exasperated and concerned by Scott’s behavior.
Finally, a host of fantastic actors playing Scott’s lifelong friends get to add color and laughs to the proceedings, including Bel Powley, Ricky Velez, Moises Arias and Lou Wilson. Although most of their hangout scenes don’t seem move to the plot forward, the shaggy nature of them hides how much they’re helping Scott slowly, yet gradually change for the better.
Because of Apatow’s understated direction, the cast’s excellent performances and the slow-burn emotional impact of the central character’s journey, The King of Staten Island turned out to be one of my favorite movies of 2020. I certainly didn’t expect that going in, but it was a welcome surprise. Hopefully, it finds a big audience when it hits VOD this weekend.
The King of Staten Island is rated R for language and drug use throughout, sexual content and some violence/bloody images.
Grade: A-
 |
| Courtesy of Universal |
The subject matter found in The King of Staten Island, Judd Apatow’s latest film, doesn’t really stretch him artistically – he’s still making movies about emotionally stunted adults who refuse to grow up – but the way he approaches the material proves he still has something to prove as a filmmaker after all these years. Plus, he continues to demonstrate that one of his biggest talents is matching rising stars with material that shows off their strengths.
In this case, he helped create a compelling vehicle for audiences to see what’s special about comedian Pete Davidson after years of being underutilized on Saturday Night Live. I’ll admit I’ve never been his biggest fan, but his work in this surprisingly poignant film made me a convert.
He plays Scott, a guy in his mid-20s who has been stuck in an extended childhood since he was seven. That’s when his firefighter father died saving people in a hotel inferno. He claims to have a dream of becoming a tattoo artist, but he’s not doing anything constructive to pursue it. That includes still living at home with his overworked, exhausted mother (Marisa Tomei).
After his little sister (Maude Apatow) heads off to college, Scott’s world is rocked when he discovers his mother has started dating again. Even more shocking is that it’s another firefighter (Bill Burr). Rather than accept this new development like an adult, he lashes out and sets off a chain of events that will force him to confront his grief and decide whether he wants to grow up or stay an overgrown child forever.
If you’re not a fan of Apatow’s previous work, I’m guessing The King of Staten Island won’t do much to change your opinion. Like his other movies, it’s too long for no real reason (The 40-Year-Old Virgin is still the only Apatow film under two hours – barely) and there’s a ton of material that sensitive viewers might fight objectionable. There’s also a difficult – some might say unlikeable – protagonist at the center of the narrative, and slow, incremental character growth isn’t always a treat for people expecting a fun comedy.
Fortunately, that departure from most of Apatow’s big screen projects is what makes it work best. The fact that it’s a comedic drama rather than pure comedy puts in in the same category as Apatow’s television work (like Freaks and Geeks and Girls) and Funny People (starring Adam Sandler and Seth Rogen), which I loved and think is one of his most underrated films. That means there aren’t a lot of moments that bring massive, holding-your-belly laughs, but the narrative makes up for it with a realistic focus that caused me to wipe more than a few tears.
The King of Staten Island is a character study, above all, which works because there’s such a compelling actor at the center. Because Davidson helped co-write the screenplay, because the story is loosely based on his own life (his father was a NYC firefighter who died in the 9/11 attacks), and because he’s finally found a vehicle that plays to his strengths, viewers will get the chance to see a promising new side of the actor.
Those who only know him (like I did) from the lackluster material he’s given on SNL, or as tabloid fodder because of his relationships with Ariana Grande and Kate Beckinsale, are in for a surprise. Here’s hoping this leads to a new phase in Davidson’s career; I know I’m certainly curious about his next moves.
Plus, Apatow’s talent for casting means he surrounds his relatively new lead actor with a staggering number of heavy hitters in supporting roles. Tomei is terrific (as usual) playing Scott’s mom, who has to juggle her affection for her still-grieving son with tough love to get him to grow up. Burr, primarily known for his stand-up comedy work, is outstanding as the new semi-father figure in Scott’s life, taking what could’ve been a clichéd role and turning it into a nuanced, lived in character.
Steve Buscemi and Pamela Adlon, who are always a welcome addition to any project, show up for a handful of scenes and knock them out of the park. Apatow’s daughter Maude is also good as Scott’s little sister, although she doesn’t get much to do aside from be exasperated and concerned by Scott’s behavior.
Finally, a host of fantastic actors playing Scott’s lifelong friends get to add color and laughs to the proceedings, including Bel Powley, Ricky Velez, Moises Arias and Lou Wilson. Although most of their hangout scenes don’t seem move to the plot forward, the shaggy nature of them hides how much they’re helping Scott slowly, yet gradually change for the better.
Because of Apatow’s understated direction, the cast’s excellent performances and the slow-burn emotional impact of the central character’s journey, The King of Staten Island turned out to be one of my favorite movies of 2020. I certainly didn’t expect that going in, but it was a welcome surprise. Hopefully, it finds a big audience when it hits VOD this weekend.
The King of Staten Island is rated R for language and drug use throughout, sexual content and some violence/bloody images.
Grade: A-
Comments
Post a Comment