Respond to these rapid questions in our Trainwreck quiz and we will tell you which Trainwreck character you are. Play it now.
It wasn’t until I watched “Trainwreck” by Judd Apatow that I shed a tear during one of his films. I’m just going to come right out and say that. We’re all friends here.
The man who made his name with the raunchy bromances “The 40-Year-Old Virgin” and “Knocked Up” a decade ago has recently shown a softer side with the more earnest “Funny People” and “This Is 40.” Both of these films have been less successful than their predecessors. With this movie, he’s made his most emotionally vulnerable film to date, striking the perfect balance between crude humor and a developing heart.
The fact that this is the first film that Apatow has directed but not written contributes probably a great deal to its success. It’s possible that there are more checks and balances in place than we’ve ever seen before in other systems. Amy Schumer, who stars in the film and wrote its screenplay for the first time, brings the irreverent spirit of her stand-up routine and her Comedy Central series, “Inside Amy Schumer,” to the big screen with her first screenplay, “Trainwreck.” There is no taboo subject or topic. There is no such thing as an inappropriate level of intimacy. And no one is immune to criticism, least of all the person being criticized.
The immensely likeable actress continues to hone her slyly deadpan and brazen manner of acting. She is never afraid to look foolish, whether it be during awkward sexual encounters, projectile vomiting, or working up a sweat while performing a complicated dance routine. This trait is exemplified in her work as a stand-up comedian. But she also gets the opportunity to show real range here in several scenes that are actually quite touching, including some beautiful and tender work with Bill Hader, who plays her unlikely boyfriend, and Colin Quinn, who plays her unfiltered father.
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In the movie “Trainwreck,” Amy Schumer plays a native of Long Island who also has a married sister named Kim (played by Brie Larson) and a father who suffers from multiple sclerosis. Schumer herself grew up on Long Island and has a sister named Kim who is married as well as a father who suffers from multiple sclerosis. It is abundantly clear that the stakes have never been higher personally.
In a flashback that kicks off the movie in a snappy and brisk manner, young Amy and her younger sister are receiving some tough-love advice from their father, who has just informed them that he and their mother are divorcing. “Monogamy isn’t realistic,” their father tells them. After twenty-three years, she still repeats to herself the same three words as her mantra. She can have sexual relations with whoever she wants, whenever she wants, but her partners are not permitted to stay the night at her place. She exudes an air of self-assurance, success, and contentment to those around her. There will be no victim shaming going on in this location. But she’s also a little bit of a mess; in typical Apatowian fashion, Amy wallows in the throes of arrested development, and she might have a little bit of a drinking problem as well.
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Then, however, her editor at “S’Nuff,” the stereotypical dude-bro-party magazine where she works, gives her a task to write a story about a Manhattan sports doctor who treats the top athletes in the country. The subject of the story is an athlete who competes in the Olympics. (A tanned and heavily eyelined Tilda Swinton is unrecognizable as the blonde, mod goddess who serves as Amy’s icy-hearted superior. She offers an intriguing contrast to Schumer’s character, who is portrayed as a powerful and self-sufficient woman who is, however, unflinchingly unlikeable.)
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Amy doesn’t know anything about sports and doesn’t want to bother pretending that she does, so their first meeting with Aaron Conners, played by Bill Hader, looks like it will be all business. However, later that night, dinner leads to drinks and more, which is much more than she had ever allowed herself to consider.
And so, the central conflict of “Trainwreck” is as follows: Will Amy continue to adhere to her long-held notions of resisting monogamy, or will she permit herself to give into the possibility of something truly new and frightening? It’s a familiar rom-com dynamic, but the reversal of traditional on-screen gender roles, combined with Schumer and Hader’s easy chemistry, makes “Trainwreck” feel new and fresh. This is despite the fact that it is a familiar rom-com dynamic.
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Even though Hader is playing a character that isn’t exactly suave in the way that he sweeps her off her feet, he manages to be surprisingly convincing as a romantic lead character. There is something about him that brings to mind a younger Jack Lemmon, and it is this profoundly decent quality that, in its own way, is tremendously appealing. He is without deceit. He is everything she has never had in a man before, and he is everything she has never been herself. He is everything she has never had in a man before. It is exciting to see this former cast member of “Saturday Night Live” find so many different opportunities to stretch his wings and demonstrate his range, especially in the wake of his powerfully dramatic performance in the great independent film “The Skeleton Twins” from the previous year. He is still able to be funny, but in a manner that is noticeably more understated.
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The majority of “Trainwreck” has a fantastic amount of energy as it bop hops along, revealing their developing relationship and even acknowledging the overused nature of the falling-in-love montage. As the homeless man who heckles passing customers and functions as the movie’s de facto Greek chorus, Dave Attell is a welcome and frequent sight in his role as the character who stands on Amy’s corner. However, much like the other films that Judd Apatow has directed, “Trainwreck” is too long and contains a number of sequences that unquestionably could have been (and probably should have been) omitted in order to create a stronger and more cohesive final product, particularly in the tedious final third.
LeBron James plays a version of himself that is sensitive, analytical, and oddly stingy in the role of Aaron’s star patient and best friend. James does a wonderful job portraying this version of himself, which is kind of wonderful. It’s a brilliant move by casting directors. However, the momentum of the movie comes to a grinding halt during a scene in which he, Chris Evert, Matthew Broderick, and Marv Albert stage an intervention in the middle of the night to help Aaron mend his broken heart. It is never as clever or funny as it aims to be; at the same time, Apatow may have felt that all these celebrities went to the trouble to shoot the scene, so how could he leave it on the cutting room floor? It is never as clever or funny as it aims to be. Similarly, a late scene in which Amy and Ezra Miller play the eager interns for the magazine feels strange and out of place in the context of the story.
In the end, “Trainwreck” isn’t nearly as subversive as it makes it seem like it will be at the beginning. The grand finale is extremely cheesy, albeit in a self-aware and entertaining way due to the fact that it is cheesy. However, the film arrives at its own personal place of peace, on its own terms, and every bit of it is well-deserved. If you find that you, too, are getting emotional at this moment, there is no need to feel embarrassed about it.
For more personality quizzes check this: Kingsman The Secret Service Quiz.
