You could argue that, among performers, comedians are the most willing—even pathologically eager—to bare their personal lives for strangers. So bless them for making movies. The semi-autobiographical script by the husband-wife team shines; the courtship of the first half feels both real and specific. That specificity is lost when it starts to follow the rom-com rulebook by the end. But still, one of the gems of 2017.
The 'A' list performances by Holly Hunter (wow), Ray Romano and Zoe Kazan make up for some scripting weaknesses in this mostly true tale by lead Kumail Nanjiani. Kazan is a heartbreaker here bringing an emotional wallop we haven't seen her capture since 'Ruby Sparks'. Holly Hunter has some terrific moments here but it may be Romano's midnight confession that steals the film. Slickly directed and well paced.
Bolstered by tremendously funny, gifted performances by the entire cast, with a balanced, even-handed mix of light but very funny comedy and emotionally potent drama, The Big Sick makes its case to be the best comedy of the year. It's amazing what happens when you write a screenplay not littered with penis jokes and gratuitous four-letter words. It's so good, it almost justifies sitting through dreck like Fist Fight.
Director Michael Showalter continues to display his growing dramatic chops, deftly balancing big comedy beats (Holly Hunter sounding off against a xenophobic frat boy has to be one of the movie moments of the year) with a strong emotional current. He also draws another superb performance out of "Ruby Spark's" Zoe Kazan, who - aided by strong writing - elevates what could have been the 'girlfriend in a coma.'
A wonderful and humanistic romantic comedy that is as moving as it is funny. The script is great and the direction is on point but it is the incredibly real performances that bring it home. An adorable film and one of the best of 2017. I can't wait to see what's next for all parties.
The Big Sick never shies away from emotions, or becomes hokey in its depictions. Quite the contrary, it’s in these moments that the material really takes off, in part because it allows the audience to find such touching humanity without ever losing comedic sensibility. The film is funny, very funny. Even when it talks about the meaning of starting a family, or abandoning one.
Basically, a two hour episode of Master of None compromised by a staggering numbers of clichés and predictable outcomes. The real winner in this otherwise unremarkable hospital dramedy is Ray Romano, straight outta Men of A Certain Age.