Pete Davidson characterizes an adult who refuses to mature in the movie more emotional of the director Judd Apatow to date.
Early in his career, Apatow (Funny People) discovered a formula that has yielded more fruit than failure. More evident in films like The 40-Year-Old Virgin, Knocked Up and Trainwreck, american director tends to gravitate towards comedians on the rise (Steve Carell, Seth Rogen and Amy Schumer) to select the protagonist of the story.
The King of Staten Islandhis most recent proposal within the genre of comedy, adheres to this formula, but ultimately adds an element that is usually absent in his films: sense. With a duration of 137 minutes, the film takes the time not only to make people laugh, but also to squeeze in a touching and deep performance by the comedian Saturday Night Live.
Davidson, who co-wrote the script along with Apatow, plays a version of himself named Scott, real name of his father, to whom the film pays tribute. Scott, like Pete in real life, he lost his father when he was a child. Both were firefighters of Staten Island, where he develops the story of the film. They both live with their mothers past 20 years and spend most of the day under the effects of marijuana. This same year, Davidson played a character similar in the drama Big Time Adolescence of Hulu. But in The King of Staten Island there is much more depth in his character.
Scott, unlike Pete, not completed high school nor is it remotely close to being a star. His only dream is to one day be able to establish the first hybrid between a restaurant and a tattoo parlor. The problem, besides being a bad idea, is that Scott is not a good tattoo artist. Scott is a man with flaws, some more serious than others, and to accept it is precisely the idea behind The King of Staten Island. It’s okay to have flaws, they try to say Apatow and Davidson, as long as you are mature enough to recognize them.
Scott lives his life surrounded by men defective, still the memory of his father, who died as a hero, his idea of what it means to be a man. Your closest friends, flirt with a life of crime and his main threat is the new love interest of his mother (Marisa Tomei), a firefighter named Ray, played by comedian Bill Burr (The Mandalorian) who lives in the station and is newly divorced. Burr load with half the weight of the film one of the best performances of his career. It is followed closely by the legendary Steve Buscemi, who appears in the second half of the film to add perspective and provide a better understanding of a parental figure, who, although invisible in the history, maintains a strong presence throughout the film.
The relationship between Scott and Ray is developed in stages and eventually allows the film to transform into an ingenious film of maturity and the importance of recognizing that there is no official manual for it. But even more resonant is the idea that our heroes, a lot of times our closest family members, are or were just as imperfect as us and that the key is to be able to recognize it when deciding what kind of person we are going to be in the society. Davidson, at 26 years, epitomizes this set of ideas with the roughness, and dry humor that promises his presence in any proposal. After all, it is your own story you are telling.
On the other hand, the women of The King of Staten Island are the ones who make the decisions more difficult. Marisa Tomei shines as a mother who has decided that the rest of your life will not be dictated by the men in her life. Bel Powley (White Boy Rick) must make a similar decision as the love interest/best friend to whom Scott often used when you are in trouble.
The King of Staten Island it is not only a study of character, the new comedy from Judd Apatow is a story of maturity and a recognition of the figures are imperfect in some way or another helped us to form ourselves.
The film arrives tomorrow, Friday, to digital platforms for Video on Demand.