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Guys being dudes produces unforgettably funny cringe comedy in Friendship

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If the mail delivery hadn’t carelessly left that one package at Craig Waterman’s (Tim Robinson) doorstep instead of its intended recipient, Austin Carmichael’s (Paul Rudd), Craig wouldn’t have found himself walking over to Austin’s house to return the trinket. In a twist of fate, this chance encounter led to Austin inviting Craig for drinks and socializing at his place. These two characters seem to hail from opposite spheres. Craig is a tech company employee who strives to make apps more addictive, often found glued to his phone every evening as per his wife Tami (Kate Mara). In stark contrast, Austin is a charismatic local weatherman with an infectious smile and an active social life.

Regardless of their disparities, these two fellows from Clovis, Colorado find common ground in appreciating mushrooms and discovering hidden aqueduct tunnels. However, a minor issue soon emerges in their relationship. Similar to many characters created by Tim Robinson for I Think You Should Leave, Craig Waterman struggles with social interaction. To put it bluntly, he’s not very perceptive about the situation or considerate of others. Consequently, this budding friendship with Austin begins to falter, much to Craig’s dismay. Yet, he is determined to preserve his first genuine friendship. Unintentionally, that careless mail person has stirred up quite a chaos.

Andrew DeYoung’s creative approach, showcased in his first full-length directorial project titled “Friendship“, effectively addresses some persistent issues that have affected R-rated comedies over the past decade. Unlike many recent productions, “Friendship” appears visually impressive as a genuine film. DeYoung and cinematographer Andy Rydzewski masterfully incorporate moments of awkward humor in extended, unbroken shots. Moreover, the use of vibrant colors throughout “Friendship” is refreshing, contrasting with other R-rated comedies like “Strays“, which often settle for dull color schemes and ordinary production designs within mundane domestic settings.

In this tale, Craig Waterman’s journey through social awkwardness is filled with vivid and stark contrasts. For instance, a cell appears in sickening shades of aged, mustard yellow. The bright red lights in a bar, symbolizing ‘happiness’, ironically torment one of the inhabitants, a disheartened Craig. Even the fleeting rainbows dancing across the frame during an unsettling exploration of Austin’s home by the main character of “Friendship” add to the overall atmosphere. The story is set against the backdrop of a Colorado winter, lending “Friendship” a level of visual specificity that surpasses most modern R-rated comedies. The cold seeps through the screen as characters struggle against snowfall from above. The melancholy inherent in the icy conditions beautifully complements the dark comedy of “Friendship”.

I’m really appreciative that DeYoung’s screenplay doesn’t shy away from a complex, unlikable protagonist for a dark comedy. Unlike many comedies of the past decade, such as The Boss and The Wrong Missy, which often rely on a foul-mouthed, chaotic character in the first two acts only to transition into overly sentimental third acts, Friendship maintains its grittier tone. Dark undercurrents are consistently present throughout the narrative, adding an unsettling depth to the story. Even the drug trip sequence, a staple in R-rated comedies, is handled with creativity and humor in Friendship.

As a die-hard cinema enthusiast, I’d like to share that friendship isn’t just a refreshing change from movies like “Vacation Friends,” “The Unbearable Weight of Massive Talent,” and “Anyone but You.” It also showcases Robinson’s ability to carry an entire film. For years, I’ve been part of the “I Think You Should Leave” fan club. Robinson’s talent has always shone brightly within the realm of sketch comedy, but leading a full-length movie is a whole new ball game. Even the duo Keegan-Michael Key and Jordan Peele, after their show “Key & Peele,” faced some pacing issues in their first post-show movie, “Keanu.

In DeYoung’s script and direction, Robinson truly shines. Scenes such as Craig’s soap-stuffing antics or his character’s quirky movements reminiscent of I Think You Should Leave, showcase Robinson’s exceptional comedic timing and physicality brilliantly. The extended runtime of Friendship allows Robinson to explore even more extreme levels of absurd, obsessive behavior. The self-assured yet clueless nature behind his “Coffin Flop” and “Darmine Doggy Door” antics remain captivating, but in this context, they serve a long-term infatuation akin to Vertigo, which wouldn’t be feasible within a four-minute sketch.

Although DeYoung is primarily known for his role in “Friendship”, he cleverly ensures that the movie doesn’t become solely focused on Robinson, avoiding the pitfall seen in some movies like the latter Pirates of the Caribbean sequels or excessive Will Ferrell comedies where performers can become grating when a director fails to call “cut” at the right time. Fortunately, “Friendship” provides ample opportunities for its diverse cast to shine, preventing them from appearing as mere cardboard cutouts reacting to Robinson’s antics. This is evident in several scenes, such as the opening image of the movie, which focuses on Tami and her perspective.

In these scenes, Robinson’s acting role adds depth with intriguing nuances. At times when he appears as a figure in the backdrop or is framed by camera angles mimicking Tami’s perspective, he becomes an unsettling interruption to Tami’s world. Despite this, the character and Robinson remain amusing, yet the disconcerting aspect of being near Craig is vividly portrayed. Both Mara and Robinson shine in these striking visuals. DeYoung’s script provides brief lines for supporting actors like Ivy Wolk and Conner O’Malley to deliver some hilariously offbeat dialogue. These characters serve as a humorous element within the narrative of Friendship. In this strange world, everyone exhibits peculiar traits such as kissing their mothers on the lips and making statements like “I look like a Marvel!

In a unique twist, the character Craig, often shunned for not conforming to societal norms, stands out as an ‘odd fish’ even among other misfits. Just like the wise Yukon Cornelius would say, “even among oddballs, you’re still an oddball!” This aspect lends a distinctive charm to the story and packs the script with jokes that will have you quoting them with your friends for weeks on end. From the 18-year-old peddling cell phones to Tami, Austin’s pals, everyone delivers a line that is sure to be memorable. As for Austin, Paul Rudd brings a delightful energy to his role. He masterfully balances charming friendliness with a hint of something more eccentrically askew. After facing less than satisfying roles in ‘Ant-Man and the Wasp: Quantumania’ and ‘Death of a Unicorn’, Rudd delivers career-best work alongside Robinson.

Apart from its stellar cast and stylish aesthetics, what truly sets Friendship apart from contemporary comedies is its hilarity. I found myself covering my mouth in shock-induced astonishment a few times, but mostly, the on-screen antics had me roaring with laughter. Joining this year’s comedy gems like Bottoms, Anora, The People’s Joker, and Hundreds of Beavers, Friendship effectively highlights the timeless pleasure of well-crafted cinema humor. A word of warning to viewers sensitive to profanity: unlike Patti Harrison’s useful Driver’s Ed tutorials, Friendship does contain language that goes beyond ‘darn’ and ‘shoot’.

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2025-05-21 18:15

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