Review: Obvious Child

Released: 29^th August

Certificate: 15

Director: Gillian Robespierre

Cast: Jenny Slate, Jake Lacy, Gaby Hoffman, Gabe Liedman, Richard Kind, Polly Draper

At 28 going on 16, Donna is moderately successful as a hobbyist stand up comedian. But when a fairly brutal dumping by boyfriend Ryan (Paul Briganti) leads to a drunken night and hookup with handsome stranger Max (Jake Lacy), Donna’s life suddenly becomes more complicated.

One of the many aspects of society that Hollywood has a tricky relationship with is abortion. Considering the political landscape of the United States this is perhaps unsurprising. It is refreshing, then, that the canon of romantic comedies centring on unwanted pregnancy has this latest edition. And unlike (undoubtedly excellent) films such as Knocked Up and Juno, Obvious Child is far less squeamish around discussion of termination. In fact, it’s one of the least squeamish rom-coms ever made.

Slate is a charming screen presence, rendering Donna a happy-go-lucky screen heroine to rival any of Seth Rogen or Kristen Wiig’s creations. Donna’s frank and filthy stand up routines reflect her openness as a character, and Slate gives her a win-all smile and an infectious giggle. Despite dealing with weighty topics, Obvious Child also adheres to its rom-com roots, and is better for it. The central romance works as more than a vehicle for talking about ‘the issues’, and Jake Lacy is a charming compliment to Slate. The dance montage is resurrected joyously here to the Paul Simon song that gives the film its name. Although Obvious Child is open in its criticism of the way abortion is treated in mainstream discourse, it is never didactic in its approach. Donna’s quiet panic when confronted with a $500 dollar fee for the procedure and her fear of telling her perpetually disappointed mother (Polly Draper) speaks volumes; and while the anger that it is not within Donna to express is given voice in her BFF Nellie (a superbly on-form Gabby Hoffman), this is not pushed unduly. Although the central romance is a focus, Obvious Child is also an ode to how women can support each other. Nellie is arguably Donna’s rock, and the film deftly flips the ‘overbearing mother’ trope on its head.

If there are any negative points they are that the film is occasionally a bit too knowing- a moment when Donna says she ‘doesn’t identify’ with romantic comedies is perhaps a little self indulgent. But overall this is a welcome addition to the new generation of smarter, brasher romantic comedies.

Verdict: 4/5

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