‘Trainwreck’s’ Amy Schumer is raunchy, funny and heartfelt

17 Jul 2015 | Author: | No comments yet »

‘Trainwreck’s’ Amy Schumer is raunchy, funny and heartfelt.

“What’s wrong with you that you want to be with me?” asks Amy, the intimacy-averse writer whose troubles are the subject of “Trainwreck,” a surprisingly touching and raucously funny R-rated comedy written by and starring Amy Schumer. GQ declared Amy Schumer the “the funniest woman in the galaxy” when they released their cover and accompanying photo shoot for their August Comedy issue on Wednesday.That’s the lesson to be learned after the comedian revealed on “The Tonight Show” that she sent a dirty text to Katie Couric’s husband — from Couric’s own cell phone.Forget the liquid diets, or logging hours and hours into the gym, Amy Schumer spills the beans on exactly how she got into tip-top shape for Trainwreck.Each time nominations for Hollywood awards are handed down—with all the self-importance and fanfare of a presidential campaign announcement (or 17)—the conversation quickly shifts to the snubs.

The poignant scene arrives in the middle of this broad, bawdy movie like a Trojan horse, after punchlines about monogamy, A-Rod and Staten Island, when Amy disappoints her boyfriend, Aaron, a disarmingly decent sports doctor played by Bill Hader. We have to admit, we were surprised the magazine chose to promote Schumer’s sexy “Star Wars”-themed photo shoot without a single quote from the forthcoming interview.

Schumer told host Jimmy Fallon on Wednesday that she pranked the Yahoo News anchor while attending Glamour magazine’s Women of the Year Awards in June. The comedy also stars a few professional athletes, including basketball players LeBron James and Amar’e Stoudemire, and professional wrestler John Cena. Couric told Schumer she would sit next to her at dinner, which the 34-year-old described as “a sick table,” since her tablemates also included Stephen Colbert and Mindy Kaling. “Then Katie is like, ‘Oh, my God! And that’s when they got her a professional trainer, someone who “trains everybody like all the Hemsworths and Megan Fox and actual foxes,” according to Schumer. “He walked in to meet me for the first time and I could see him kind of assessing the damage. But beyond the one-off oversights and the well-deserved accolades, the holistic picture of nominees says something important about the state of television today.

Don’t be distracted by its low-cut blouse, “Trainwreck” is all about the heart, as the movie asks a question that has paid therapists’ and pop singers’ bills for years — do naughty girls need love too? (Spoiler alert: You bet they do!). And he’s looking at me up and down and he’s looking at me like he would look at a burn victim to try and be brave for them, you know?” The Emmy nominee added, “That’s the Hollywood secret!

Finding that love involves several hilarious, you-only-live-once-era detours for Schumer, in the kind of lovable screw-up role that made Bill Murray a star. This is so embarrassing.’ They’re newly married, I guess,” Schumer recalled. “I show Mindy and I go, ‘Look what happened!’ She’s like, ‘What do you mean what happened? In the film, she’s refined her stand-up and TV persona, also named Amy, into a hard-partying, occasionally clueless writer for a trashy men’s magazine who delivers one-liners that communicate both a brash world view and her own crippling emotional defensiveness — “You’re gonna lose us the right to vote!” she shouts to some Knicks cheerleaders who made her feel frumpy. Bunche Center for African American Studies at the University of California, Los Angeles, television network and studio heads during the 2012-2013 season were 96 percent white and 71 percent male. In scenes like the argument with Hader’s Aaron — and even more so a stirring funeral eulogy she delivers — Schumer also reveals surprising range, displaying a true vulnerability that explains the tossed barbs and empty bottles.

She’s taken aim at women’s magazines repeatedly in her standup routines, sketches on “Inside Amy Schumer,” and in June she spoke of how refreshing it was to work with Glamour compared to her previous experiences. “Any comic in the room knows that when a female comic does a photoshoot, they’re like ‘Oh, cool, can you hold this plastic dick over your head? Minorities were underrepresented by a factor of nearly 6 to 1 among lead roles on broadcast scripted TV shows, based on the percentage of minorities in the general population.

As Amy doubts whether she should be with someone so kind, her sister, Kim, played with warmth and restraint by Brie Larsen, assures her that, “He’s the perfect amount of nice that you deserve.” The cast is studded with recognizable comics, most notably Colin Quinn as Amy and Kim’s father, Gordon, who appears in the opening scene in a childhood flashback to establish Amy’s commitment-phobia origin story. This year, there are three black actors alone—Andre Braugher, Tituss Burgess and Keegan-Michael Key—in the running for best actor in a comedy series. Nine out of the 40 nominees this year, a threefold increase over last year, are black actors and actresses—an increase worth noting even if it’s not quite evidence of a sudden sea change. Schumer’s comedy has come under criticism lately for what the Guardian called a “blind spot about race,” and she recently apologized on Twitter for an old stand-up joke about Latino men.

She’s clearly evolving in her voice as a writer, and Quinn’s character, who spouts offensive comments about nearly every type of human being while still remaining defiantly charming, seems to embody an idea she wants to express — that sometimes the people we care about the most are racist, homophobic or otherwise deeply flawed. The Amazon series joins Orange Is the New Black, which includes the transgender actress Laverne Cox among its ensemble, in the growing number of high-quality shows about trans stories. After five consecutive years of the award going to Modern Family, Transparent could easily win, showing that American audiences are embracing an even more modern family. Other gems in the supporting cast include Tilda Swinton, an utterly unrecognizable testament to the power of bronzer as Amy’s deliciously mean editor, Mike Birbiglia as her sweet, lumpy brother-in-law, and stand-up comic Dave Attell as a homeless guy who narrates her frequent walks of shame. In Schumer’s case, though it’s not altogether new to see an outspoken feminist among the nominees, it is more unusual to see recognition for a comedian whose show, week after week, works tirelessly to lambast the patriarchy, taking on everything from rape culture to the role of women in the military to the decreasing number of roles for older actresses.

At just over two hours, the feature is Apatow’s shortest ever as a director, but it still could use a haircut, and some scenes seem to exist solely for their punchlines, not to advance the story. As a reporter at a men’s magazine, Schumer plays a character “utterly repulsed by the idea of marriage and children” who “uses sex” as a “temporary form of release,” according to The Guardian. Speaking of which, Tomlin’s appearance among the slew of nominees highlights the upside of the risk Netflix took in creating a show featuring two actresses over 70—and the fact that such a show is considered a risk at all.

It’s awfully entertaining, though, to see the man behind the bro comedies “The 40-Year-Old Virgin” and “Knocked Up” shooting a woman’s world, with the help of “Tiny Furniture” cinematographer Jody Lee Lipes. Tomlin, who has won Emmys in the past as a producer, writer and voiceover actor, is not only more than 25 years older than the next-oldest of her fellow nominees, but 20 years older than the next oldest nominee in the category at any point during the past decade. Apatow also produced the Kristen Wiig and Annie Mumolo script “Bridesmaids” and Lena Dunham’s HBO show “Girls,” and his work with female collaborators is some of his best.

In its R-rated comedic portrayal of sex from a female point of view, “Trainwreck” continues in a more graphic way a path forged memorably by Meg Ryan’s fake-orgasm scene in “When Harry Met Sally.” “Trainwreck” is stuffed with visual references to other New York-set films, including “Working Girl” and “Manhattan,” and makes terrific use of the city as a backdrop for love with exuberant set pieces, particularly a courtship montage in Central Park and a final, energetic, cheer-worthy sequence shot at Madison Square Garden.

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