July 10, 2023 · Watch the trailer
There’s so much to like about the directorial debut of “Crazy Rich Asians” co-writer Adele Lim’s raunchy comedy “Joy Ride.”
Not only is it a launching pad for Lim as a director transitioning over from screenwriting, but “Joy Ride” showcases four distinct and talented Asian-American actresses on a large, big-budget production and allows them plenty of opportunity to shine.
It’s bittersweet, however, because the narrative behind the film and its disjointed attempts to be outrageous and sentimental hold “Joy Ride” back from being a must-see film in theaters and whatever criticism the film might garner could simply be reductive down to trying too hard to be “Bridesmaids” or “The Hangover” or any other sex comedy led by a Caucasian cast.
On its merits, Lim’s film has its solid leading ladies having the best possible time leaning into increasingly bizarre situations for comedic purposes and, at times, it truly is a joy to watch the fun and debauchery unfold.
The tone set by the frustrating screenplay from writers Cherry Chevapravatdumrong and Teresa Hsiao, however, just ruins so much as the actresses have to work alternately at character and comedy, and half of the group lacking any true reason for being along on the journey really stifles the narrative flow.
“Joy Ride” sees childhood best friends Audrey and Lolo traveling to China after Audrey brings Lolo along to translate at a high-level business meeting. When two of their friends tag along to help search for Audrey’s birth mother, hijinks run amok as the four take a wild trip across China for answers.
Ashley Park is fine as the responsible adopted daughter Audrey and while these characters are usually written stiff by comparison to their cohorts, Park occasionally comes off a touch more grating than probably intended, but her efforts do allow her costars to really shine.
Sherry Cola, best known on Freeform’s “Good Trouble,” is the best part of “Joy Ride” as Lolo, the free-spirited, hypersexual best friend who both drives the narrative and hits her punchlines the hardest with terrific physicality and nuance.
Oscar nominee Stephanie Hsu, fresh off of Best Picture winner “Everything Everywhere All At Once,” delivers another surprising and unique performance as good girl with a wild side Kat. Although the script doesn’t her the ability to stretch her dramatic side as much, Hsu excels at playing both sides of the coin as Kat struggles to maintain a more modest image.
Newcomer Sabrina Wu often steals moments as the socially awkward Deadeye and her flat, stoic demeanor helps make some tender scenes work as they are so unexpected from the character.
As R-rated comedies go, “Joy Ride” attacks its audience aggressively with risqué sexual jokes throughout and an absurd drug sequence that forces several of the women to ingest life-threatening amounts of cocaine that, while humorous, may be too bombastic for some audiences.
Whether intended or not, some of the comic sequences feel excessive in their line-crossing to the point where it feels like Lim and her writers are trying to one up other comedies just to try to be on equal ground.
For a first-time filmmaker, there’s not a ton of flash or pizzazz to the cinema in “Joy Ride,” but Lim does a solid job setting up her cast for success despite the rougher edges of the screenplay.
Films like “Joy Ride” will need a solid moviegoing audience in order to convince studios to continue taking chances like this, but there’s not enough to the film as a whole that makes it a must see in theaters and some audiences may prefer a more casual home viewing at the end of the year.
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