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Josh Reviews The King of Staten Island

In Judd Apatow’s new film, The King of Staten Island, SNL’s Pete Davidson stars as Scott, who lives at home with his widowed mother.  Scott’s father was a firefighter, who died on the job when Scott was young.  Scott is content to live his slacker-ish life, smoking and drinking with his friends and dreaming of someday opening a tattoo shop-slash-restaurant.  But when his far-more put-together sister, Claire (Maude Apatow), goes off to college, and Scott’s mother Margie (Marisa Tomei) starts seeing another firefighter, Ray (Bill Burr), Scott’s life goes into a tailspin.

I’m a huge Judd Apatow fan.  I’ve been a fan ever since watching Paul Feig’s and his brilliant but short-lived TV series Freaks and Geeks, and Mr. Apatow’s follow-up (and also short-lived) series Undeclared.  I loved his phenomenal directorial debut film, The 40-Year-Old Virgin, and ever since then, a new Judd Apatow film has been a cause for excitement for me.  A hallmark of Mr. Apatow’s work has always been how he has balanced humor with real emotional pathos.  I think Mr. Apatow is one of the best comedic writers working today, and if he rested on that, I’m sure I’d still enjoy his work.  But Mr. Apatow has always used humor as a way of exploring his characters and searching for emotional truths.  This was evident (and important to the success of) the first two films Mr. Apatow wrote & directed, The 40-Year-Old Virgin and Knocked Up, two films with an extraordinary laugh-per-second ratio.  With Funny People, Mr. Apatow shifted his approach slightly — his films were still extremely funny, but he grew more willing to allow the humor to take a back-seat for longer stretches in his films, and to allow the explorations of character and dramatic situations to step more into the forefront.  While I admit to a slight preference for his “earlier, funnier” movies, I’ve nonetheless thoroughly enjoyed Funny People, This is 40, Trainwreck, and now The King of Staten Island.  I have commented before how Mr. Apatow has developed, to my mind at least, into this generation’s James L. Brooks.  That is no small praise.

Whereas Mr. Apatow’s earlier work — and Funny People in particular — seemed to draw more from the Mr. Apatow’s personal life experiences, and those of his close friends, it’s been interesting to see how in recent years Mr. Apatow has used his approach to comedy and drama as a way to allow other performers to explore their lives and step into the limelight.  This was the case with Lena Dunham in her HBO show Girls (which Mr. Apatow Executive Produced), with Amy Schumer in Trainwreck, and now with Pete Davidson in The King [continued]