The plot: Cosmetics worker Renee (Amy Schumer) has a lot of self-image issues and wishes that she was prettier. But after an accident at the gym results in a knock to the head, she suddenly not only sees herself as pretty but gains a sense of confidence that she never had before. As she sets out to show off her "new" looks and climb up the corporate ladder, her friends and co-workers start to wonder what exactly has happened to this woman.
Schumer as both the under-confident dreamer and
the over-confident successor works out nicely, adding another layer to her
body-positive repertoire that she wears proudly. I question just how proudly she should be wearing some
of this character’s skin, but we’ll get to that in a bit. Rory Scovel as the love
interest fits in very nicely, with his and Schumer’s scenes together feeling
quite authentic and cute more times than not. Michelle Williams as Renee's boss, even with the
self-consciously annoying voice (yeah, it’s supposed
to be annoying but I question what good that intention ultimately does), checks out and adds another example of the film’s main point concerning
self-image in a way that strengthens it rather than hinders it.
Emily Ratajkowski
seems to be absolutely typecast by this point as “the pretty one”, and while
this isn’t a real exception to that, she manages to apply it to the film’s want
to clear up misconceptions re: body-positivity in a way that makes her
archetype work the best so far in her filmography. It’d be nice if she got a
bit more adventurous in future, but at least some progress has been made. Aidy Bryant and Busy Philipps do well as Renee’s best friends, Tom Hopper as a rather
clearly-aborted attempt at a love triangle is just okay, and Lauren Hutton as his and
Williams’ grandmother evens things out between them.
I don’t know what it is about the idea of
personal transformation that makes this trope so common, but seriously, we’re
doing the ‘head injury’ plot again? Really?! This got old decades ago for even
the soap operas that saw fit to use it, so you can imagine how wonky it comes
out here. In fact, considering this is the main conceit that starts the successive plot in earnest, I can’t help but think that this didn’t work as
writer/directors Abby Kohn and Marc Silverstein planned. Basically, she wakes
up from the head injury and, when looking at herself in the mirror, sees
someone beautiful that she can be confident in looking like. But it isn’t her.
Quite a few jokes to come after this scene rely on Renee literally being unable
to recognise herself and expecting no-one else to either.
Dissociation of this
nature is a common companion with
self-image issues, as it is a lot easier to think that you should just start
fresh with a new visage than trying to improve on what you see as not able to
be fixed. This is a rather pointed notion, and one that definitely rings true
to reality in a fashion, but I think Kohn and Silverstein didn’t plan on just
how pointed this idea is… or that, if we’re being honest, it isn’t the funniest
idea in the world. It’s actually kind of unsettling, since this level of
dissociation feels like some serious damage was done with said head injury.
There’s a reason most films (most good
films, at least) don’t use this tired cliché so much these days.
Of course, feeling unnerved isn’t the most
frequent emotional response in the face of what this film presents. Eye-rolling
irritation would be more accurate, and it ends up being incredibly
counter-productive to the film’s goals. When Renee has her big mental
transformation, she’s not just confident; she’s annoyingly
confident. The majority of the film banks on the idea that watching people be
aghast at someone this happy with themselves is funny, and for some it might
be, but it certainly isn’t for me. There’s a reason why I make it a point to
downplay whatever expertise I bring to the table with these reviews, and it’s
not just because of my own crippling self-image problems. It’s also because I find
something quite irritating about people who have this much of an ego about their own personality.
Hell, the film
itself ends up highlighting those problems for me, with how Renee’s renewed
confidence ends up turning sour when she starts taking it for granted and
neglecting what she had before. I have no issue with depictions of
uber-confident characters in film, but when it’s being milked mainly for comedy
and Amy Schumer is not the kind of
comedian to make a puffed-out chest look attractive (speaking figuratively
here), it falls flat. It’s a bad sign when your film intends to highlight the
good of having better self-worth, and yet it makes the end product of that goal
look this thematically unappealing.
This really sucks the fun out of the equation
because, in all honesty, this kind of message is one that should be in
circulation. I’d rather avoid having to compare my own reception to the film to
anyone else’s, but since I genuinely think this film could do some good for its
audience, I kind of have to. The backlash towards this film does involve some
reasonable assertions, like how some of the humour makes the main intention a
bit hypocritical or how the inner workings end up failing the more visible
aspects, but mainly, I’ve been seeing way
too many people claim that Amy Schumer shouldn’t be in this movie.
Specifically, because she’s either too close to being conventionally attractive
or flat-out is conventionally
attractive, and thus has no reason to be complaining about her lot in life.
This is such a wrong assumption, I’m actually more annoyed with it than
anything this film has to offer on its own. Lack of self-image and the feeling that you,
as you are right this instant, isn’t good enough is an inherently irrational
idea, one of a series that people encounter when it comes to issues of mental
health (and considering this film directly involves blunt force trauma to the
head, I’d say that this qualifies). One of the single worst ways to handle
someone else going through that thought pattern is saying that they aren’t even
deserving of their anguish. That only makes them convinced that their issues
aren’t worth anyone’s time, which means they get repressed, which means they
are buried where they can do even more
damage. This kind of ‘white people problems’ hand-waving is atrociously
counter-productive and more than a little petty, all things considered.
That, in a nutshell, is why I think this film still has
merit despite its rather fundamental issues: Because it speaks to a definite
reality of the human condition that a shocking amount of people are willing to
completely write off. What irony that a message about looking past one’s own
superficial details would be shot down for equally superficial reasons. Where
this film ends up hitting its highest points is when it features Renee, Avory
and even Mallory talking about their own issues, their own forms of self-doubt
that most wouldn’t pick up on from surface details. It doesn’t matter how attractive
you think someone else is; that doesn’t directly mean that they don’t have their own
worries about how they look, how they act or even how they think. Most of us just have to put on a brave face because society
tends to commoditise physical beauty as something vital to a person’s
existence, and those who don’t fit into it aren’t worthy of being part of it.
To make things worse, society’s view of what counts as beautiful is exceedingly
narrow, to the point where pressure is placed on people (especially women at
pretty much all points in their life) to fit into that mould. This film asks a
simple question in response to that: Why should I worry about living up to what
someone else thinks is sexy, when I think I look pretty damn sexy already?
Honestly, I’m rather inspired by this depiction of being more confident with
one’s self-image, and I seriously hope that I’m not the only one.
All in all, even with this film’s rather dicey approach to
comedy and the inclusion of that stupid friggin’ head injury trope, I still
found a fair bit to like about this film. The acting brings out some real
poignancy from the film’s main idea of improving one’s self by one’s own
standards, even from otherwise-unremarkable actors like Emily Ratajkowski, the
pacing is rather sluggish but the highlights definitely stand out well, and the
writing may be a bit uneven in places but still makes a solid showing of how
people, particularly women, should be comfortable in their own skin rather than
trying to change themselves to suit everyone else’s preferences. As someone who
rather recently has been working to ease my own self-image problems and how
little worth I put in my appearance, I see some real merit in this, to the
point where I actually recommend this even in spite of the problems I see here.
I totally agree with you on this one mate- I really admire the message they're trying to send, but think they could have gone about it a lot better. The head injury was, as you said, cliché and the after effects rather overdramatic in my opinion. But I really liked that scene toward the end where she discovers that all that changed was her perception of herself. There's something there I think we can all take away in terms of being comfortable in our skin- believe in yourself and know that you are better than the 'ideal', because you are you, and to me, that in itself is special.
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