“The Big Sick” is a Judd Apatow production, and like a number of movies he’s been involved with over the years (“Funny People,” “This Is 40”), it goes on a tad longer than it should. Some tightening, especially toward the end, might have made a great film truly excellent.
In some ways, The Big Sick is a pretty typical romantic comedy. We have the obligatory meet-cute, obligatory make-out scenes, an obligatory break up and obligatory dramatic tension about whether the couple is going to get back together again.
What’s more, despite the regular thrum of tension-breaking gags, it never pulls big emotional punches and, commendably, doesn’t offer easy answers to the thorny questions of religion, tradition and family loyalty.
The Big Sick is the frankest and funniest date movie around, but be warned: You’ll laugh till it hurts.
And yes, the film feels timely, in the way that it’s perhaps inevitable that any story focused on a Pakistani Muslim living in America will right now, as we do see examples of the casual racism Kumail faces.
Thanks to the particulars and the meticulously voice of the script, each of the actors are able to guide and take you right into The Big Sick's most touching, tragic, heart-breaking, and tender moments, and you're always aware of just how well-controlled, thoughtful, and though out the film is.
Fortunately for Nanjiani, Hunter can also be generous, extending maternal sympathy in his direction as the story progresses; when she's not around, the actor is more than ready to run the gauntlet of emotions required in his inevitable showdown with Kumail's own parents.
The Big Sick is one of the best romantic comedies of this short century and one of the best films of 2017, period. The delightful chemistry of Kumail and Emily’s delayed courtship accentuates compelling adoration far more than Sandra Bullock voiceovers and a hapless Bill Pullman.
- Every Movie Has A Lesson
Based on a true story, this movie has the very unique premise of new love in which the girl quickly enters a coma and the guy meets her parents (for the first time) in the waiting area of the hospital.
This dramedy mixes laughter and tears as Kumail and Emily struggle to work out their love for each other in the midst of familial clashes, religious pressures, health crises, traditional values, and the cultural criticism of young comedians.
- Spirituality and Practice
Throughout the film, we see how Nanjani emphasizes the complication between traditional Pakistani values and American individualism. His parents firmly believe in arranged marriages, but he does not.
In terms of craftsmanship, The Big Sick is perfectly solid, if not quite on the same level as its acting and screenwriting.
In the film’s compact first act, Kumail and Emily blaze through very funny, and very sweet, new-relationship markers: the pillow talk and personality litmus tests, as when Emily charmingly bristles at Kumail watching her watch one of his favorite films: “I love it when men test me on my taste.”
The film never once feels even positively biased as it deconstructs the emotional toll this deeply conservative style of parenting can have on its children. A traditional form of household that still resonates through South Asian values and feels in desperate need of progression.
Nevertheless, the sweetness radiating outwards from Nanjiani sustains it, and whenever The Big Sick digs a substratum or two deeper than the rom-com norm, that spitballing