It's no secret that comedy has struggled to find a place in the current cinema landscape. While the genre once ruled the roost, frequently finding itself sitting pretty amongst the highest grossing films of the year, audiences are finding their escapism elsewhere, and the genre has been mostly relegated to streaming-only endeavours that rarely linger long enough to make a dent in the cultural conversation. So, when a decently-budgeted, star-headlining comedy comes along, you sit up and take note.
Raunch comedy No Hard Feelings follows Maddie, a young woman desperately trying to save her childhood home. Agreeing to "date" the introverted, awkward Percy at this request of his own (rich) parents, Maddie's attempt to bring Percy out of his shell could end up backfiring. Gene Stupnitsky directs the feature, which offers Jennifer Lawrence her first comedy star vehicle, and Andrew Barth Feldman his first major screen role.
Comedy (tied with horror) is one of the most hard-to-nail genres out there, given how much individual taste comes into play. What's hilarious to one won't raise a smile from others - but, for the most part, No Hard Feelings has something here for the whole R-rated crowd to enjoy. A great deal of fun, although disappointingly without any side-splitting, knee-slapping moments that certify it as a particularly memorable cinema experience, it's still worth the price of admission for the amusing one hour and 43 minutes you spend with it.
Gene Stupnitsky directs with a reliable hand and, to the credit of many involved, with the freedom to let the material breathe. It never feels rigidly structured and moves along confidently and briskly, beyond some initial first-act jitters perhaps stemming from nervousness in re-establishing the comedy template It’s never about fancy camerawork or proving themselves as a filmmaker, but instead focusing on the characters whose surprisingly thoughtful journeys are a bonus to the entertaining antics.
Age gap relationships seem to be a perpetually sticky subject for certain moviegoers, as confirmed by the social media discourse kicked up during the opening weekend. Still, No Hard Feelings mostly circumvents any discomfort that could arise from its central relationship by sketching the two characters involved with enough backstory and motivation of their own. The purposefully mismatched pair conjures a compelling dynamic to explore, which is done so with a depth you perhaps wouldn’t associate with the genre, while still delivering the frothy fun you have come to see.
However, it is undeniable that this is a Jennifer Lawrence vehicle through and through, and she truly carries the film to success. What's written on paper is fine, if a little perfunctory - but Lawrence elevates it to a higher level with her natural charisma, instant likability and sharp comedic instincts that have, inexplicable until now, been hardly shared with audiences outside of her press tours. She really commits to the ballsy comedic work, her timing and pitch both perfect; but Lawrence balances what could have been a prickly character with a heart and sensitivity that makes the entire thing work.
Let’s not forget Andrew Barth Friedman, who provides a gentle performance well contrasted against Lawrence but still packed with a charm and humour that certify him as an endearing screen presence. Again, this is far from the likeliest of pairings, both in terms of characters and the actors bringing them to life, but their chemistry creates a screen friendship that feels wholly believable. Again, No Hard Feelings is not as laugh-out-loud hilarious as it should be, but thanks to great casting, there are more than a handful of chuckles and some terrific line-reading peppered throughout its lean runtime that delivers on the fun promised,
No Hard Feelings doesn't reinvent the wheel but in 2023, its very existence is a form of rejuvenation for the comedy genre - and a rather fun time in its own right. Truthfully, it's hard not to will No Hard Feelings toward success. Suppose there are complaints to be made that the film's premise seems dated. In that case, it's only because we - the general audiences who have become more selective as to the films they deem "event cinema" enough to visit the cineplexes - have allowed it to become. There is still room for comedies in a theatrical setting, with the hope being that the combination of a terrific headline star turn from Ms Lawrence and the promise of lighthearted, frothy fun can convince audiences to vote with their wallets and we can continue viewing comedies in a communal space.