Directed by:
Michael ShowalterCinematography:
Brian BurgoyneComposer:
Michael AndrewsCast:
Kumail Nanjiani, Zoe Kazan, Holly Hunter, Ray Romano, Aidy Bryant, Bo Burnham, Adeel Akhtar, Linda Emond, Anupam Kher, Shenaz Treasury, Isabel Shill, Myra Turley (more)Plots(1)
When Emily (Zoe Kazan) contracts a mysterious illness, Kumail (Kumail Nanjiani) must navigate the crisis with her parents and the emotional tug-of-war between his family and his heart. (Roadshow Entertainment)
Videos (15)
Reviews (11)
Enthusiastic responses from Sundance announced that this may be the comedy of the year, but it’s no miracle - this independent romantic comedy is completely standard, and there are dozens to hundreds of similar films in existence. In fact, it is only moderately funny. However, it differs from the others with its Pakistani themes and cute origins, which is certainly a plus, as well as the unusual motifs of the mother separating her son from her family for disobeying cultural traditions, jokes about Muslim terrorists and possible metaphorical interpretations of the deadly consequences of lies among two partners.
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It follows strictly the tried and tested plot of a typical Sundance midcult feel-good flick; i.e. it’s not serious about serious things, with social overtones, not overdone and with likeable characters. Of course, it doesn't matter at all if it makes you laugh, moves you, and also teaches you something about cricket in Pakistan.
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I was wondering how a romantic comedy could be so entertaining that it dazzled at the Sundance Film Festival and then also as the opening film at the Karlovy Vary festival. It turns out that romantic comedy really can be very funny and perfectly disarming. At first glance, it's a seemingly unoriginal romance involving a stand-up comedian, but on the other hand, it's fantastic fun with great jokes and interesting developments.
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The film had a really slow start for my taste. I didn't really get why it was supposed to be a comedy. Ironically, I only got it when things started to get serious and Emily's parents came on the scene. That's when I started enjoying myself and it lasted almost till the end of the film. Almost. The ending was all-American, sappy and predictable and robbed the film of a potential fourth star.
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Of course, there is nothing wrong with films that cater to the tastes of the masses. The fact they want to be liked (even though they may deal with rather painful issues) and do not arouse any antipathy in viewers only puts critics in a non-conformal position, as they are being manipulated. Therefore, I had a similar problem with The Big Sick as I did with last year’s Sundance hit Captain Fantastic. In a film that boldly combines observational comedy about the clash of different genders and cultures (with humour based on commenting on everyday situations in the manner of stand-up comedy) and melodrama, there is less banality and more truth. The first welcome disruption of the romantic-comedy formula is the unexpectedly early break-up, which is not the worst thing to happen in the central couple’s relationship. After the sudden genre shift, a relationship remains the focal point of the film, but it’s not the relationship between the guy and the girl, but between one of the partners and the other partner’s parents. Considerations as to whether the solution is original or cowardly and rather insensitive toward one of the characters are not very relevant, given the knowledge that this is how it actually happened. Though the film does not completely lose its humour after a change of tone, which may be reminiscent of some of James L. Brooks’s comedy-dramas, it is more serious, more moving and less egocentric than other romantic comedies by young filmmakers. The parents are given almost as much attention as the children, whose self-centredness and unreadiness for life are that much more apparent. The unexpected change of perspective, which Aziz Ansari also works with brilliantly in Master of None, leads us, just like the protagonists, to reassess what is really important in life. Emily and Kumail’s inability or unwillingness to perceive the situation that has arisen from the other’s perspective is more thoroughly elaborated in the slightly repetitive final act of this somewhat drawn-out film (which is, however, a shortcoming of most of the films made or produced by Judd Apatow). The filmmakers like to spend time with their characters and let them carry on dialogue often lasting a few minutes longer than is necessary. Most of the time, however, they adhere to the central theme of "love in spite of” and never deviate from the main storyline for so long that the narrative loses traction and starts to be boring. Besides that, they succeed in utilising most of the plot detours in an emotionally powerful climax, where the alternating perspectives make you care not only about the fortunes of the central couple, but also about the many characters around them. 75%
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