(2021) Comedy (Circle Collective) Steele Stebbins, Danny Trejo, Jeremy Tardy, Adrian Ciscato, Zemyhe Curtis, Joshua Gonzales, Wendy Braun, Regan Burns, Jennifer Sorenson, Michael Patrick McGill, Adam Herschman, Tricia O’Kelley, John DeLuca, Jessica Renee Russell, Radek Wallace Lord, Isabelle Anaya, Connor Del Rio, Eugene Kim, Judilin Bosita, Noureen DeWulf, Aundrea Smith. Directed by Jonathan Kaufman
It’s 1998 and social media hasn’t yet become the force it is today. Donny (Stebbins) is a nice Jewish boy about to become a nice Jewish man, at least in terms of his faith. Looking at the adults around him, it’s hard to figure out who the grown-ups are.
Shot from the point of view of a videographer using a camcorder (the film is even shot in the 1.33:1 ratio standard for camcorders of the era), Donny’s Bar Mitzvah follows several plot lines such as Donny’s brother Bobby (DeLuca) getting his mother’s friend Susie (O’Kelley) pregnant after a quickie in the venue bathroom – a pregnancy which goes through its entire process in the course of the night. Then there’s Donny’s sister who is the beard for gay Gary (Herschman). Or there’s emcee Gerald (Tardy) who has a thing for his co-worker Gigi (Smith) but it turns out that she’s just Danny Trejo (Trejo) in disguise and Trejo is actually a federal agent chasing a nefarious criminal known as the party pooper who it turns out is, umm, aptly named. Also, you get to meet Mr. Wang (Kim) and his wife (Bosita) attending their first bar mitzvah, whose shocked and uncomfortable expressions likely mirrored my own.
There’s Donny and some of his friends trying to learn a dance routine but protesting that Jews can’t dance, or the overbearing mom, the interfering grandmother trying to matchmake or a thousand other stereotypical cliches which were passé even in 1998. And the film is jampacked from start to finish with raunchy, vulgar sex jokes. One gets the sense that Kaufman is trying to go for a cross between the Farrelly Brothers and Judd Apatow with a dash of John Hughes thrown in for flavor.
I have no problem with raunchy comedies, although the more prudish among you might find the humor here overbearing, but I’m not so much a raunch for raunch’s sake kind of guy. I need my comedy to be funny and not merely amusing. Kaufman adopts the “throw as many jokes and bits against the celluloid wall and see what sticks” school of filmmaking founded by ZAZ back in the day. The pacing is a bit haphazard, moving in fits and starts despite the constant barrage of jokes. On the plus side, though, there appears to be some actual ideas in the background, from the concept that parties of this nature are more status symbols for the parents than celebrations of their children. The movie could have used a few more of these.
This isn’t a movie for everybody, simply because Kaufman tries so hard to push the envelope which is unnecessary for a good movie. As this is his first feature, he’ll doubtlessly learn that pretty quickly and concentrate on just making a terrific movie, and something tells me he actually will. But this ain’t it.
REASONS TO SEE: Pokes fun at the “we’re doing it for our kids” culture. There are some profound ideas among all the grossness.
REASONS TO AVOID: The pacing can be compared to a car with carburetor problems. Tries too hard to be outrageous.
FAMILY VALUES: There is lots of profanity and vulgarity including sexual references, nudity, violence and drug use, most involving teens.
TRIVIAL PURSUIT: Director Jonathan Kaufman cameos as a super awkward bartender under the pseudonym Jonny Comebacks.
BEYOND THE THEATERS: Amazon, AppleTV
CRITICAL MASS: As of 4/1/21: Rotten Tomatoes: 60% positive reviews; Metacritic: No score yet.
COMPARISON SHOPPING: Superbad
FINAL RATING: 5.5/10
NEXT: The Fever