George Simmons is a famous stand-up comedian, who learns that he has a terminal illness and less than a year to live. When, he meets Ira, a struggling comedian at a comedy club where both the comedians are performing, George hires Ira to be his personal assistant and opening act at his performances. The two forge a close friendship as...
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George Simmons is a famous stand-up comedian, who learns that he has a terminal illness and less than a year to live. When, he meets Ira, a struggling comedian at a comedy club where both the comedians are performing, George hires Ira to be his personal assistant and opening act at his performances. The two forge a close friendship as George helps Ira with his career and Ira helps George find closure in his legacy. However, when George learns that his disease has gone into remission and an ex-girlfriend re-enters his life, he's inspired to reevaluate what is important to him and what truly gives meaning to his life.
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WHAT IT'S ABOUT?
George Simmons is a comedian-turned-Hollywood superstar whose comfortable Malibu existence is threatened when he is diagnosed with a rare blood disorder. Placed on a regimen of experimental meds that offer a mere 8% chance of success, he's forced to confront the very real prospect of his own mortality, which not surprisingly triggers a drastic realignment of his priorities. Looking for a companion to assist him in his final days, he hires Ira Wright, an earnest young comedian in desperate need of a break, to work as his assistant. Ira naturally jumps at the chance to be mentored by one of his idols, but quickly finds himself in over his head as he accompanies George on his perilous, chaotic journey of self-discovery and redemption.
WHO'S IN IT?
A newly trim Seth Rogen (Pineapple Express, Observe & Report) injects an endearing blend of sensitivity and self-doubt into his normal "lovable schlub" routine as Ira, the struggling performer tasked with such a strange assignment. In the role of George, Adam Sandler deserves kudos for taking on a character clearly based on himself. It's not hard to see the similarities between Sandler's resume of high-concept, critically-maligned blockbusters and George's fictional portfolio of hits like Merman, a male-centric version of Splash, Re-Do, the story of a grown man turned into a baby by a wizard, and My Best Friend is a Robot, a buddy comedy co-starring Owen Wilson. (For a more complete list, check out george-simmons.com.) But in contrast to Sandler's genial, everyman persona, George is an acerbic, self-absorbed, privileged vision of the Hollywood success run amok.
Supporting players include Leslie Mann (Drillbit Taylor, Knocked Up), who plays George's ex-girlfriend and soulmate Laura, a one-time actress now married with two children in Marin County. Eric Bana (Munich, The Time Traveler's Wife) makes an inspired turn as Laura's husband Clarke, a boisterous Aussie businessman whose temperament amusingly alternates between violent aggression and teary-eyed affection. Relative newcomer Aubrey Plaza (TV's Parks and Recreation) is a delight as Ira's shy, witty love interest Daisy, while veteran Apatow players Jonah Hill (Superbad, Forgetting Sarah Marshall) and Jason Schwartzman (The Darjeeling Limited, Walk Hard) provide much of the film's laughs as his oddball roommates. Rounding out the supporting cast are RZA, Aziz Ansari and Apatow and Mann's real-life daughters, Maude and Iris Apatow.
Cameos abound, with appearances by such varied names as musician Jon Brion, comedians Ray Romano and Andy Dick, and rapper Eminem.
After tugging the heartstrings and tickling the funnybone with equal skill in his previous directorial efforts, The 40-Year-Old Virgin and Knocked Up, Judd Apatow heads into darker, more ambitious territory with Funny People, while still trying to deliver the same raucous comedy that we've come to expect from him. The result is a movie that is at times heartbreakingly poignant and laugh-out-loud funny.
At almost two and a half hours in length, Funny People is neither poignant nor funny enough to justify such a bloated running time. Apatow let his ambition get the best of him this time, attempting to deliver — to paraphrase his own words — his funniest and most serious film to date. Methinks a shorter cut of the film might have yielded either a great comedy or a great drama, depending on which path its director chose. Instead we wind up with a merely good dramedy that meanders for a while before falling off a cliff in the third act.
While offering some sobering advice to Sandler's character at a high-class restaurant, rapper Eminem catches Ray Romano staring at him and unleashes a barrage of expletives at the mortified former sitcom star, much to the shock of the surrounding customers. It's ironic that one of the film's funniest scenes comes c
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