Kumail Nanjiani

  • Addicted to Fresno (2015)

    Addicted to Fresno (2015)

    ByChristian Sauvé Movie Review

    (On Cable TV, July 2020) The weirdest stuff pops up on cable channels once in a while, especially when focusing on those smaller movies without strong genre elements—it’s not rare to see a direct-to-video movie on steady rotation years later, as it’s rediscovered by a programming director looking for more unusual titles. So it is that Addicted to Fresno made it on Canadian Cable TV channels this month, featuring a can’t-miss cast headlined by none other than Judy Greer and Natasha Lyonne. Any of those two would warrant a look as far as I’m concerned, but the two of them playing sisters in a dark comedy? Yes, I will definitely watch that. But the cast doesn’t stop there: With such notables as Aubrey Plaza, Ron Livingtone (playing a very Ron Livingtonesque role), Fred Armisen, Molly Shannon and a short but memorable turn by a then-lesser-known Kumail Nanjiani, it’s the cast that keeps on giving throughout the film. Greer and Lyonne are also interestingly cast against persona, with Lyonne as the cheerful level-headed one and Greer as the flighty unstable sister. Addicted to Fresno spares no moment in establishing its raunchy (but fully clothed) brand of dark humour with the language alone earning the film’s R-Rating. But it’s fun, and seeing these comic actors bouncing against each other is fun as well. Director Jamie Babbit keeps things going in a straightforward fashion, and if the actors aren’t all up to the task (while I like Plaza a lot, her deadpan style can’t quite stretch to accommodate her character) there’s a good-natured sweetness that emerges from its initially irremediable characters right in time for the conclusion. Addicted to Fresno won’t set the world afire nor will it find a large audience—the humour and characters can be off-putting. But it’s a nice example of a little character-driven comedy and the ending does wrap things up nicely. Stay for the few outtakes at the end, including a reprise of Lyonne’s can’t miss “Cousin Itt” moment.

  • Stuber (2019)

    Stuber (2019)

    ByChristian Sauvé Movie Review

    (On Cable TV, April 2020) Formula breeds complacency and complacency breeds contempt and so it’s not too hard to see buddy-movie vehicle Stuber as anything but a generic product placement for its headliners. Dave Bautista plays a supercop who recruits an Uber driver (Kumail Nanjiani) for a night of explosive action—kind of a Collateral except supposed to be funny. Still, the elements here are pure 2010s R-rated comedy, with big pop songs and pop-culture references and excessive gore that instantly date this as a 2019 period piece. (Whether it will be dated well or dated badly is something for the future to determine.) At least the action star is credible and the funny star is funny: Bautista looks the part of an action-movie cop, while Nanjiani does the sarcastic foil quite well. Still, Stuber is a very manufactured experience—even if some of the supporting characters and details can be amusing, the film sticks so much to the template that even its self-awareness about it simply reinforces that it’s not taking chances nor making the obvious any fresher. It really doesn’t help that it endorses some vexing matters, from a rogue cop to manslaughter however justified. Sure, you can watch it and be entertained, but the moment you start scratching at the surface (which you may have the time to do a few times considering the uneven pacing), it proves as hollow as Hollywood producers congratulating themselves on their originality.

  • The Big Sick (2017)

    The Big Sick (2017)

    ByChristian Sauvé Movie Review

    (Google Play Streaming, November 2018) As a genre, the romantic comedy will never die as long as it adapts to the times, keeps finding intriguing hooks and invests in its characters. The Big Sick is a surprisingly engaging example of the form, showing us contemporary romance, likable characters and an irresistible hook: What if a recently-formed couple faced the impending death of one of them? That may not be a funny premise in itself, but don’t worry: everybody gets better in the end. Kumail Nanjiani and Zoe Kazan are well cast as the lead couple—Nanjiani even playing his own role given that the story is loosely adapted from his own life. The cross-cultural courtship themes abruptly shift gear into more dramatic material once one of the romantic leads goes into a coma, although the appearance of their parents (great performances by a high-energy Holly Hunter—who gets the film’s best scene—and an unusually likable Ray Romano) add more complications to the proceedings. Since the film revolves around a stand-up comedian, expect a few one-liners and glimpses at the tough life of these performers. The good script is backed by strong execution that manages to find a balance between very tricky material. It manages to combine modern cynicism with earned sincerity, and wraps things up with a belated but no less effective bow. There’s been a lot of hype about The Big Sick as an independent film darling, and it admirably sustains it during viewing.