Maude Apatow’s directorial debut, ‘Poetic License’, showcases her talent behind the camera, proving she’s more than just a famous name. With a brilliant screenplay and a stellar cast, this film is a delightful surprise.
‘Poetic License’ Review: A Smart and Funny Directorial Debut
Don’t dare call Maude Apatow a mere “nepo baby.” Her winning directorial debut proves she has the chops behind the camera as well as in front (Euphoria), Apatow name or no Apatow name. Poetic License, which had its world premiere at the Toronto International Film Festival in a prime Saturday night slot, is evidence of the emergence of a major triple threat talent.
Screenplay and Ensemble Cast
That’s the headline but it is not meant to take away from the achievements of Raffi Donatich, whose supremely intelligent and raucously amusing screenplay is her feature writing debut, or a cast that just kills it. In fact, this is the kind of ensemble where you can imagine every one of them, ala American Graffiti, being remembered for their collective early work in this engaging sleeper of a comedy that quite frankly caught me by surprise with so many LOL moments, building to true unbridled hilarity by the time it ends. Poetic License could be the true discovery of this year’s TIFF.
Leslie Mann’s Memorable Performance
Not least among its charms is yet another memorable performance from Apatow’s mother, Leslie Mann, who has proven time and time again she is one of the best out there. Here, she gets a dream role as Liz Cassidy, a wife and mother in a bit of a life crisis, about to be an empty nester with her daughter Dora (Nico Parker) wanting to move away and no longer looking for comfort from Mom. She also struggles to find some sort of footing in a new town where her husband James (Cliff ‘Method Man’ Smith), a college professor, has found a new job. Looking for her own worth, she joins a poetry class as an auditor where she first meets a couple of students, the dynamic self-possessed Ari (Cooper Hoffman) and his best friend, buttoned-up Sam (Andrew Barth Feldman), who is facing the prospect of joining Morgan Stanley, the brokerage firm he keeps referring to as Tracy Morgan.
Character Development and Themes
That would be what develops into the main plot here, but for much of its early running time, this is a movie simply about people trying to grow up and find their place in the world, and that isn’t limited to the young, but everyone including Liz. Donatich’s whipsmart script is character-driven, witty, and wise in giving each of them a distinct personality as their decisions start to careen out of control. It also makes sly comments on colleges themselves with one reference to the ‘Cryptocurrency Department’. “You know the kids are really excited about the new bitcoin class,” the college president tells a professor in one of the film’s wry throwaway lines.
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Conclusion
It would be nice if this deserving film gets a theatrical release, even if movies like this seem to head to streaming more often than not these days. Sitting in the Royal Alexandra Theatre last night, hearing all that convulsive laughter once again, made me think comedies are made to be experienced in a theater. Hopefully, we can get back to that someday. In the meantime, Maude Apatow’s impressive first film is a keeper, no matter where you find it.
