****
Tim Robinson is better-known for his sketch comedy work than feature film credits. He regularly participated in Saturday Night Live up until 2016, and has done his own show, I Think You Should Leave from 2019, to the present. I have since seen a couple of episodes of his comedy sketches and it seems Friendship is an attempt to transpose his unique brand of comedy to the big screen.
Based on his sketches, it is clear that Robinson is one of the funniest comedy writers currently working. On his show, he is able to conjure up some hilariously exaggerated everyday scenarios, packing a strong punch in a short amount of time. For me, his brand of comedy and acting style doesn’t quite mesh with the more disciplined structure required for a feature film.
Craig Waterman (Tim Robinson ), is a mild-mannered family man, seemingly content with life. He serendipitously meets recently-moved-in neighbour, Austin (Paul Rudd ), who is more adventurous and socially-oriented, when a package intended for Austin is mistakenly sent to Craig’s address. This evolves into a newfound, rare connection for Craig, whose life suddenly becomes much more fulfilling, until one fateful moment arrives which may jeopardise this meaningful relationship.
The film is a mixed bag of funny scenes; some more successful than others. Andrew DeYoung is the film’s writer and director, and he creates some pretty funny scenes involving well-realised, eccentric, side characters.
In fact, I think Friendship works better when Robinson shares scenes with more subdued actors and their characters, thereby relinquishing the spotlight. These scenes feel more dynamic because of the contrast in acting styles. A feature-length exhibition of Robinson’s loud, obnoxious acting-style becomes exasperating after a while. Despite portraying the protagonist and the story’s emotional core, the film and performance doesn’t give you much of a reason to empathise with him.
For a comedy as broad as this is, it may seem naïve to criticise it for failing to forge an emotional connection with the audience, but there is an Indie, naturalistic feel to the cinematography, and more restrained performances from cast members such as Kate Mara and Rudd give the impression one should take the film more seriously.
This is part of an overall, inconsistent mish-mash of tones, story elements and depth of characterisation that results in a film that seems a little confused about its intentions.
Seemingly crucial plot points emerge as inconsequential and potentially interesting characters are frustratingly devoid of dimension. On one hand, it feels like it wants to follow the A24 independent dramedy trend, but then maybe it also wants to be the new Anchorman (2004 ) which funnily enough, both films share a Paul Rudd character working for a local news station.
There are certainly moments when you will laugh. A scene involving a toad and a Subway order is a brilliantly well-sustained, hilarious scene that when viewed as a clip in isolation, will more than likely leave many watchers in hysterics.
In terms of its depiction of middle-aged, male friendship, it captures the feeling of discovering something new and exciting but also the uncomfortable pressure that holding onto it can exert.
At times, Chris’ social anxiety and desperation to fit in is evoked effectively, including some understated sequences depicting what Chris’ idyllic ‘friends’ night’ looks like. Despite being a goofy comedy at times, one of the film’s crucial moments features what I perceived to be an optimistic and reassuring example of friendship in its purest expression; an inherent urge to protect the person you care about, making the social awkwardness and cringeworthy mishaps seem redundant. I thought that showed sincere profundity from the filmmaker.
Now Showing in the Eye and Omniplex Cinemas.
