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The drama-comedy Funny People is Judd Apatow's third outing as a writer-director, and it stars both Seth Rogen and Adam Sandler. This should be a funny movie, right? Of course, the problem with expectations is they occasionally lead to disappointment - and Funny People is disappointing on numerous levels. It has been suggested that this flick is the final entry in Judd Apatow's comic trilogy about sex (2005's The 40-Year-Old Virgin), birth (2007's Knocked Up) and now death (or at least the threat of death). In this regard, the movie is a blatant attempt on Apatow's part to display maturity as a filmmaker, and the product is more of a drama (an uncomfortable one at that) than a comedy. There's one crucial hindrance with Funny People: it's neither funny nor touching - it's grim. Even Apatow and Sandler devotees will find their attention spans challenged, as the film wears out its welcome long before the excessive 150-minute runtime has elapsed.
Central to the story is a comedian named George Simmons (Sandler). After spending his career making asinine comedy movies for the masses, George has become self-absorbed and emotionally stunted. Towards the beginning of the movie, he's diagnosed with a rare blood disease. Upon learning about his impending doom, George basically just continues to indulge in his usual self-centred activities (except with a much darker attitude) rather than embarking on some form of spiritual journey or attempting to right his past wrongs. George eventually stumbles upon a makeshift comedic soul mate in the form of struggling stand-up Ira Wright (Rogen); taking the inexperienced funny man into his life for jokes and companionship.
This is, however, just one half of the narrative. George pursuing his estranged early love Laura (Mann) constitutes the other half. The notion seems to be that Funny People is a two-hander between George and Ira, but George's story eventually overwhelms Ira's. By combining what should have remained two separate stories into one movie of extreme length, a lot of potential is wasted. The relationship between Ira and George was a self-contained narrative in itself, and the first half which explores this is quite entertaining. But instead of concentrating on this narrative thread, the film pursues something more hackneyed, with George trying to reconnect with Laura while Ida is held in reserve. Exploring the deep rituals of the comedy circuit would've also made the film far more compelling.
Judd Apatow's movies (even those he produces) are frequently crippled by their needlessly long runtimes and general self-indulgence. Funny People is no different - it meanders around a number of plotlines before seemingly ending at random; aware it has exhausted its audiences' tolerance for Apatow's trademark excess. Believe it or not, the running time of Funny People exceeds the extended editions of both The 40-Year-Old Virgin and Knocked Up by around 10 minutes, and there's more that could have been added. Some connective tissue appears absent (like the explanation of why Laura, who is irritated and dismissive during earlier conversations with George, agrees to see him upon learning he's dying - and it's a mystery as to how she even finds out about his condition since there's no public announcement). Much like the films of Quentin Tarantino, Funny People is a movie in desperate need of discipline.
Disappointment is imminent on the comedy front. The stand-up sequences, with their poor lighting and an air of flop-sweat, admittedly possess an air of authenticity (the actors themselves even wrote their own material, and it was all filmed in front of a live crowd). But the on-stage routines aren't funny or in the least bit memorable. In fact, some of them are excruciatingly unfunny. Pretty much the only funny parts of the entire movie were shown in the trailers (maybe 5 or 6 lines in a 2½-hour movie), none of which are genuinely hysterical. Unfortunately, too, the dialogue never crackles with any wit. Funny People is an audacious movie that provides a few entertaining moments, but as a whole it's tragically flat.
Adam Sandler as George Simmons is a stroke of genius. The actor is in top form with this low-key performance, and this is perhaps the most lived-in work of his career. Sandler has already proved he's a capable dramatic actor (Punch-Drunk Love, Reign Over Me), and he flexes these chops capably here. Suitably, the character of George Simmons is a famous comedian who has long sacrificed his edge for awful movies made purely for money. With Sandler having starred in a number of awful movies made purely for the box office returns over recent years, it's clear he's having a little fun at the expense of his own career.
As with every Apatow movie, the cast gives the film a class-reunion sensibility, which makes the film a lot more fun for them than it is for an audience. As Ira Wright, a slimmed down Seth Rogen is in familiar territory; playing a poorly-masked version of his usual self. Leslie Mann (Apatow's wife) is also in familiar territory playing Laura, though she's still endearing. As Clarke, Laura's Australian husband, Eric Bana steals the show. Meanwhile the two offspring of Mann and Apatow play the children of Laura and Clarke, and Jason Schwartzman and the agonisingly unfunny Jonah Hill play Ira's wisecracking friends/roommates (a staple ingredient in Apatow films). A bunch of real celebrities (playing themselves) are given small cameos too, and they're fun to watch (Ray Romano's cameo is one of the film's most amusing moments).
In the case of Funny People, there's simply too much here for one movie. The plotting is unruly and flabby, as what seems to be a straightforward tale of morality and redemption becomes bogged down by unnecessary characters, formula and outright schmaltz. This isn't an inherently uninteresting or gruelling film (in fact the first hour is great), but the indefensible length turns a bold experiment into something that too often feels like an endurance contest.
4.8/10
