WASHINGTON — What happens when you mix Judd Apatow’s eye with Amy Schumer’s script?
You get the most hilarious and heartwarming R-rated comedy since Apatow’s debut “The 40-Year-Old Virgin” (2005). While that film launched countless careers — Steve Carell, Seth Rogen, Jonah Hill, Paul Rudd, Leslie Mann, Jane Lynch, Romany Malco, Kat Dennings, Elizabeth Banks — “Trainwreck” is destined to catapult Schumer beyond stand-up acts and TV sketch comedy to make her a moviestar.
Schumer plays the semi-autobiographical Amy, a New York City magazine writer raised to fear monogamy by her cheating father (Colin Quinn). As an adult, she roams Manhattan — and Brooklyn and Staten Island — sleeping with as many dudes as possible. They want to stay and cuddle; she wants them to leave. They want to be her boyfriend; she’s busy adding their notches to her lipstick case.
All that changes when she’s assigned to write a feature article on Aaron (Bill Hader), a successful sports surgeon who works with some of the biggest athletes in the world, from LeBron James to Amare Stoudemire. Aaron instantly falls for Amy, who in turn develops feelings for him. She panics to her settled-down sister (Brie Larson) over a feeling she supposes is love. What to do? What to do?
Four years ago, when Apatow produced Paul Feig’s “Bridesmaids” (2011), he turned Melissa McCarthy into an Oscar-nominated star. Schumer deserves similar acclaim for her gutsy, ovaries-to-the-wall performance that ranges from explicit physical comedy to tear-jerking emotional weight. It marks continued growth from raunchy stand-up befitting of her Comedy Central show’s double entendre title, “Inside Amy Schumer” (2013), which just yesterday earned her an Emmy nomination.
You may also recognize her from the web series “Comedians in Cars Getting Coffee,” where she ragged on Jerry Seinfeld for his broken-down car. Likewise, the gender reversal in “Trainwreck” takes a page from the “Seinfeld” episode “The Boyfriend,” in which Jerry asks George sensitive questions about his “bond” with Keith Hernandez, to the dismay of the raunchier Elaine.
Schumer is the antithesis of the traditional romantic comedy heroine, a hornier version of Rosalind Russell in “His Girl Friday” (1940). She vomits at the idea of any discussion of feelings, leaving that to Hader and his boys. In this way, Hader refreshingly plays the straight man. We’re used to seeing him as a wild and crazy guy like Stefon on “Saturday Night Live.” Here, he mines comedy out of his caring nature, playing the Sally to Schumer’s Harry for a romantic duo that would’ve pleased Nora Ephron.
The fact that Hader’s character associates with pro athletes allows for some brilliant sports cameos. We won’t spoil them all here, except to say that LeBron James steals the show as Hader’s thoughtful friend, while WWE superstar John Cena shines as Schumer’s hypersensitive meathead boyfriend.
These roles put this year’s other sports cameos to shame, be it Tom Brady in “Ted 2″or Russell Wilson in “Entourage.” Those movies registered low-to-mid range on the comedy scale, so if you thought those were funny, you’re in for a really big treat with “Trainwreck.” If you thought those movies were filthy, Schumer’s particular brand of comedy might not be your cup of mother-f’n tea.
Still, even those with a low tolerance for R-rated humor will appreciate the surprising amount of heart on display. Much of the credit belongs to Schumer’s on-screen sister, Brie Larson, who had her coming out party in 2013 with the indie gems “The Spectacular Now” and “Short Term 12.”
Just when you think “Trainwreck” is about to get corny, Apatow breaks the illusion with a post-modern touch, allowing Schumer’s narration to mock an overlong “love montage,” and spoofing everything from William Wyler’s “Funny Girl” (1968) to Woody Allen’s “Manhattan” (1979).
Straddling the line between the manic and the melancholy is Quinn, who adds daddy issues to his usual “SNL” and “Tough Crowd” snarkiness. It’s hard to resist his banter with retirement home companion Norman Lloyd, who’s old enough to have appeared in Hitchcock’s “Spellbound” (1945) with Ingrid Bergman and Gregory Peck. If you take offense to elderly crackpot humor, you’ll surely be offended by Dave Attell’s turn as a homeless man with shifting cardboard signs. Advice: lighten up.
If Attell, Quinn, Larson, Hader, LeBron and Cena aren’t enough, the supporting cast also features Vanessa Bayer (“Saturday Night Live”) as the dumbest co-worker you’ve ever seen; Ezra Miller (“Perks of Being a Wallflower”) as the weirdest intern you’ve ever seen; and Tilda Swinton (“The Grand Budapest Hotel”) as the bitchiest boss you’ve ever seen.
There are times we recognize the “Virgin” formula — Swinton’s bizarre boss is not too different from Jane Lynch, Schumer’s “All is Lost” moment recalls Carell’s in-over-his-head sex scene with Elizabeth Banks, and the finale once again finds our hero flat on his/her back looking up at the love interest.
In lesser hands, we’d call this pattern formulaic. In Apatow’s hands, we call it auteur comedy.
Yes, Apatow and Schumer have achieved the impossible. Not only have they turned something filthy into something heartfelt, they’ve somehow managed to make LeBron James likable.
Forget South Beach. King James has taken his talents to Hollywood.
★ ★ ★ 1/2
The above rating is based on a 4-star scale. See where this film ranks in Jason’s Fraley Film Guide. Follow WTOP Film Critic Jason Fraley on Twitter @JFrayWTOP.
