The Big Sick – 4.5/5 – Movie Reviews by Ry!
The Big Sick – 4.5/5 – In this day and age of film; there is a trend to blend genres. This is something that leads into originality that is different, unique and fun. Mixing genres brings out a sense of living for the audience. No matter what genre is mixed together (drama, comedy, horror, sci-fi, etc.), you get a sense of emotional detail. The Big Sick is one of those that blends two genres into one. Forming what is known a dramedy (drama and comedy), you have a story that is honest, pure, funny and heartfelt. Simply, The Big Sick is a triumph for an indie film on the big screen. For all the blockbuster to litter the theaters this year, it is great to see a small film challenge for movie of the summer.
Premise: In a world of clashing cultures, two people must endure every obstacle to find out what real love is in the end.
In the main role of Kumail is actor Kumail Nanjiani. In this role, he provides a character of true worth. Commanding the screen with strength, suave and amazing abilities, Nanjiani is superb as a man in conflict with his heritage and pursing his own dreams. He does a superb job providing a unique sense to the duality role, exuding raw personality on the big screen. Mixing in the continuing conflict of friendship, family and love, he strikes a chord in being truthful but sarcastic on a human level. It brings across a sense of relevancy to everyday occurrence. No matter whom he interacts with, Nanjiani does it with an honest thought. It is amazing to see acting at its heights. For the secondary characters, you can refer to the film’s IMDb page. Across the board, they all do a marvelous job providing a ‘window’ into the people that are a part of the Kumail’s life. No matter if its friends at the comedy club, his family or girlfriend, they come across as genuine people. The oddball, slick and unpredictable dialogue is fruitful for a comedy that plays loose on dramatic-centric themes. Even when some borderline on clichés when it comes ‘relationship’ tropes, it never wanes on the experience.
The direction unfolds in that unique blending of genres. As mentioned in the prologue, this film is defined as a dramedy. Mixing dramatic and comedic elements within a typical three act format, you have a story that unfolds through general terms. You see how each situation is influenced by how characters interact, and the outcome of those interactions. No matter how they occur, everything is revealed in layers of personal thought, conviction and choice. This method gives a familiarity that generates a tone that is simplistic, but unpredictable. Watching this blend with themes of love, adulthood and culture difference details a story that reflects upon ourselves in any one of the characters. This provides authentic detail that grounds the characters to something real. It is fun, exciting, and enthralling to see direction that focus solely on characterization. Having this edict makes the evolving storyline become pure for the audience. When we first meet Kumail, he is a struggling standup comedian who is at odds with the wishes of his family to pursue law and settle down. Along the way, he meets a girl that compliments his personality in every way. Through a manner of fate, his family circumstance and a dramatic plot device, we watch these two represent every part of the thematic detail presented in the film. When these different cultures clash, it provides a genuine take on how fate can have an emotional effect on people. Watching these two interact throughout is comical hijinks, but the dramatic layering provides something deeply thought provoking. This ‘mixing of genres’ provides a tale that is whimsical at its core. As the story progresses, you are profoundly moved by the main character’s flaws and growth. Watching him grow shows a reflection on the ideas of love and happiness. Once we are in the final act, the comedy and dramatic elements hit a height of twist and turns that provide an insight into the unpredictability of human emotion. Once all unfolds, it is that typical climatic ‘epiphany’ that every character in the film must endure. It might seem cliché, but the slickness in the delivery shows how their choices turn out better in the end. Once the film rolls into its epilogue, we watch fate combine with choice. It is sweet irony to see what happily ever after can be in a true story.
The visuals are basic. There isn’t anything that stands out from the general background used to create the world around the characters. With a common look at the city life of Chicago and the surrounding suburban areas, it complements the simplistic narrative. Keeping everything ground is welcomed since the focus should be on the characters (in this film). The score is mute at best, not helping or hindering the progress of the story.
The Big Sick is one of those indie darlings that happen once or a twice a year. From a stellar cast to its ingenious but bold simplistic narrative, this is a film that doesn’t disappointed. No matter how you see it, this is film that everyone will enjoy. Go check this when you can, it is worth the full price of admission.