What makes “No Hard Feelings” so sharp and funny though, isn’t the raunchy jokes or the physical comedy (though the sight of Lawrence bouncing Feldman on her knee might be the funniest image onscreen this summer), it’s the savagery of the generational social commentary underpinning the script by Stupnitsky and John Phillips, and no generation is safe. There’s a beautiful subtlety to his performance and a precision to his physicality that makes him an incredibly compelling screen presence, and their opposites-attract chemistry is ridiculously charming. He’s 19, she’s 32 he’s obsessed with rules, she’s on probation.įeldman, a 21-year-old Broadway star (“Dear Evan Hansen”) in his first starring film role, shines as Percy, the anxious, cautious foil to Maddie’s reckless wild child. Maddie and Percy forge a bond after a disastrous date that results in both experiencing harrowing bodily harm while in the buff, and something like a friendship blossoms between these two oddballs, who are odd in different ways. Maddie needs a car, and she’s willing to romance a (legal) teenager, so off she roller skates for what she hopes will be a quick and easy venture into sex work.īut of course, it’s never about the destination but the friends we make along the way, and “No Hard Feelings” would never deny us that journey. Her car’s been just repossessed, towed by her ex Gary (Ebon Moss-Bachrach), and with unpaid property tax bills looming, she needs wheels.Įnter the weirdest Craigslist ad of all time: A pair of wealthy helicopter parents ( Matthew Broderick and Laura Benanti) would like to “arrange” for a young woman to date their sheltered, nerdy son, Percy ( Andrew Barth Feldman) in exchange for a Buick. There simply aren’t enough female dirtbags in cinema, so Lawrence’s Maddie Barker - Uber driver, surly bartender and pissed-off Montauk townie - is a refreshing character. It’s a “Superbad”-style story with the sensitivity and class consciousness of John Hughes, a delightfully raunchy streak, and Lawrence going for broke in a bold and bawdy performance as a rowdy Long Island surfer girl doing her best Mae West. Her follow-up swings in the opposite direction, kicking up her heels in a good old-fashioned sex comedy, “No Hard Feelings,” which she also produced.ĭirected by Gene Stupnitsky ( “Good Boys”), “No Hard Feelings” is a direct descendant of ‘80s teen coming-of-age comedies but evolved for a new generation.
Last year, Lawrence produced and starred in the gritty indie film “Causeway,” as a veteran recovering from a traumatic brain injury, for a first-time female director, Lila Neugebauer. It was a smart move, because Lawrence is back now, and it’s a whole new ball game. So she fired her agents and took a break to get married and have a baby. But not all of those films were good, and Lawrence didn’t seem to be having all that much fun.
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Or maybe it was only a coincidence.In 2018, Jennifer Lawrence was 28 and one of the biggest movie stars in the world: an Academy Award-winning actor, a veteran of the “Hunger Games” franchise, alternating between prestige projects and giant action movies. Maybe on the first listen, I had made some subconscious connection to the words and sounds I heard, a connection that drove me to come back for more. WASTEISOLATION was reflective, in part, of the trauma and anxiety of the trans experience. Searching up an interview with the band revealed that Black Dresses was a duo of trans women. I recognized that I was listening to fundamentally queer music. The second time, something stuck out to me: on “RUNNER,” the line “Mirror image of something that I never really even was / Heterosanity able-bodied LCD display,” from the breathy, almost-tortured voice of Devi McCallion. While it struck me then as hard-hitting and memorable, I didn’t pay close attention to the lyrics.
I had heard Black Dresses’ music before during a late-night drive. Sometime last year, I found myself listening to the Black Dresses album WASTEISOLATION.
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