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- Directed by Jade Apatow
- Written by Judd Apatow and Pam Brady
- Protagonist Karen Gillan, David Duchovny and Keegan-Michael Key
- Classification R; 126 minutes
- Flow on Netflix from April 1
Selection of the reviewer
I have stated that people do not need another COVID-19 film. We’re only done with the pandemic when we say we’re done, it’s a line of thought – and while you may disagree, it’s a tip that filmmakers should at least take into account. I just do not want to see masks, swabs or the effects of social distance on the screen. With the exception of COVID-19-but-not-really Bad Luck Banging or Loony Porn (and maybe the thriller almost about Steven Soderbergh’s coronavirus Whom), I do not think the narrators are ready to honestly calculate the pandemic. Nor should the public have to face such attempts at quick tricks. And yet, and yet α I had a decent time with Judd Apatow The Bubble.
I may regret writing it after a rerun – or when we go back to the lockdown after the Pi Epsilon 2.0 variant – but there is a semiscopic and not insignificant pleasure to Apatow’s experiment. The Netflix production is not the best film of the comedy king by far (although it is his shortest film, which still does not say much), but it works despite itself.
Designed through a meta hall of mirrors – this is a movie released during a pandemic about creating a movie during a pandemic, which was made during a pandemic, inspired by other movies like Jurassic World: Dominion and Mission: Impossible 7 committed during a pandemic – The Bubble it takes a few strokes, and several throat clearing hacks, to get started.
In the early days of COVID, movie star Carol (Karen Gillan) is called back to the title of the movie with the extremely stupid monsters Cliff Beasts franchise that made its career. The arrest: Carol, her co-stars (including David Duchovny addicted sex addict, Keegan-Michael Key’s pseudo-spiritual narcissist and a desperately lonely actor played by Pedro Pascal) and the entire crew must be quarantined in a bubble without COVID-19 just outside London. There is a certain level of R-rated reflection, especially when it becomes clear that Cliff Beasts 6 The director (Fred Armisen) has no control over his cast, and the studio director (Peter Serafinowicz), who is in charge of everything on a budget, and only vaguely “safe”, refrains from taking a PCR test by losing his mind. .
On the hook and its production engineers, The Bubble is Apatow’s highest-grossing film, but also its most restrained or polite. He feels that the structure that depends on the improvements that the director uses for his films such as It was knocked up and This is 40 – maybe just because there was no time or patience in terms of the COVID-19 protocol – and the scenes suffer for that. The characters are also mostly unsavory kids, while Apatow specializes in selling related, nice outsiders.
But – this is a critique full of – the film is still funny, scandalous and full of a bunch of killer comedians who seem to really enjoy their mission (including Apatow’s daughter, Iris, who plays a TikTok character, and of wife Leslie Mann, as a protagonist resembling Reese Witherspoon). At the risk of developing a more obvious joke than The Bubble resorts, the energy and charm of the film are rather contagious.
Your mileage can vary depending on, say, how many nose mounts you can do on your stomach. But there are quite a few sharp gags (“You have lines, but they are only non-verbal”) and surprise guest stars (a track includes music [redacted] made my day) to make The Bubble the best thing that has come out of Hollywood since the pandemic after the security crash of Tom Cruise on set. Mission: Sorta Possible, Judd Apatow.
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