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  • Making a movie that seems authentic is hard in this day and age considering what films make money and what films don't. Most of the time audiences don't feel like watching a film deal with real issues when they can just watch a summer blockbuster, but Obvious Child is an incredibly effective real film.

    Jenny Slate gives an incredible lead performance of a woman who is a struggling stand up comedian and dealing with personal issues to go along with it. After going through a break up she has a one night stand with a complete stranger, who also happens to be a charming and genuinely nice man. Slate and Lacy have great chemistry together on screen, even if it's dependent upon dirty and crude humor. Speaking of dirty, if the films opening doesn't have you laughing than it's probably not for you. The jokes can be a bit much at times but that speaks to the bond these two strangers have built over a short period of time.

    It also treats abortion with care while never really leaning to one side of the spectrum or the other politically wise. Comedically it's on par with a lot of straight up comedies, but it separates itself by having true moments of drama. Props to the entire cast for creating these real characters who everyone can relate to. I think Jenny Slate will be a powerhouse in comedy if she chooses the right roles for herself. Obvious Child is a great short little indie film that's definitely worth watching.

    +Slate's star making performance

    +Real characters

    +With real dramatic situations

    +Good mix of comedy and true emotion

    -Humor a bit over-the-top at times

    8.4/10
  • Gillian Robespierre makes an endearingly funny film about unplanned pregnancy and abortion with Obvious Child. Don't believe us? Watch it! Obvious Child, written and directed by Gillian Robespierre, is the breakout indie comedy that swept up audiences hearts at both Sundance and SXSW festivals.

    Obvious Child follows a stand up comedienne named Donna Stern, played by Jenny Slate. Donna was recently dumped, and not just dumped, but had her heart ripped out and stomped on by her now ex-boyfriend and needless to say she is going through a rough patch. What does one do when one is heartbroken? Well, dancing in her underwear to music, one-night stands and maintaining a certain level of drunkenness seems to be the remedy for her. Unfortunately for Donna this leads to further complications when she finds her uterus fertilized which forces her to address aspects of her life she's been avoiding.

    It is incredibly difficult to tell where Donna Stern ends and Jenny Slate begins in Obvious Child. All the characters written by Robespierre are realistic, engaging and fully formed, especially Donna's best friend Nellie (Gaby Hoffmann) and straight-laced paramour Max (Jake Lacy). Whether it be from the actors' talents or the superior writing, either way, Obvious Child is a fast-paced film with entertaining and intellectual dialogue.

    Obvious Child is not a film for everyone. If you gripe about the sanctity of marriage and have considered or participated in a pro-life rally then this film is probably not for you. You've been warned. Obvious Child is definitely slanted toward the liberal agenda and lucky for this film, so am I.

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  • Obvious Child delivered 84 minutes of witty dialogue , excellent performance (Jenny Slate)and humor mixed with light drama . It's ingenuity forces the viewer to feel the attractiveness of the actors even when conventional beauty is scarce . There are no super models in Obvious Child , no flashy implants , and no forced nudity , but the movie draws a constant smile on your face from beginning to end credits.I'm no big fan of rom-coms but this movie changed my mind. Yes a lot will discuss the morals of the movie (abortion) and take sides (with or against) but the value of this movie , in my humble opinion, is outside that debate . its fun and warm and deserves a double watching experience .did I say that Jenny Slate was wonderful ?
  • When asked about my 20s, I tell people it's a decade-long roller-coaster of mayhem, mistakes, memories and maturity. The decade where you learn about the real world, learn from one's actions and its consequences. Oh, and learning that ex-boyfriends don't really pine over you for the rest of their lives.

    This is where we find Donna Stern (Jenny Slate) in OBVIOUS CHILD. Fidgeting at the gates of the dirty thirties, Donna's in an emotional crisis right now. Her boyfriend just dumped her for her girlfriend (whom he had been seeing behind her back). The bookstore where she works is closing down, placing her in the unemployment line and she's worried about not being able to afford her rent. In addition, the relationship with her mother Nancy (Polly Draper) is still complex but luckily, Donna's relationship with her dad Jacob (Richard Kind) keeps her balanced. And last but not least, Donna's recently discovered she's pregnant. With Max's (played by Jake Lacy) baby. He's the one-night-stand 'piss-farter' she met at the bar where she's performs her stand-up comedy routine.

    As a way to figuring out everything in her life right now, Donna talks about these relationship issues with her friends both on and off stage. And like any irrational, insecure woman who has recently been dumped, Donna also tortures herself by drunk dialing her ex-boyfriend and 'stalking' his house to see if he'll exit with her ex-friend. 'Just one more sip' she says after each sip of her coffee until Ryan (Paul Briganti) emerges with said friend in tow.

    Donna finally turns the maturity corner after inadvertently meeting preppy nice guy Max following her disastrous stage performance, and subsequently falls pregnant from their one- night-stand. The surprise pregnancy steers the film in a more controversial direction when, after carefully considering her circumstances, responsibility and readiness to be a mother, Donna decides to abort her pregnancy.

    Don't think this subversive rom-com makes a mockery of abortion. It doesn't. In fact, first feature director Gillian Robespierre handles the abortion plot point with finesse: placing it in a relatable context that seriously considers the consequences of the protagonist's actions whilst weighing it against the reality of responsibility and unstable circumstances. And despite the stigma surrounding such a decision, Slate's character remains resolute in her choice throughout the rest of the film. It strengthens the ideal that it is okay to make such difficult decisions particularly when it's in one's own best interest.

    It's not often one has an opportunity to watch a film about abortion that is so refreshingly candid, yet comically relatable, that you can't help but praise Robespierre and her perspective of a late 20s woman whose life so far, isn't turning out quite the way she thought it would. Literally. And like Donna's temporary spiral out of control in OBVIOUS CHILD, that's okay because eventually, you'll manage to steer yourself back on track.

    In a nutshell, OBVIOUS CHILD is a sharply written comedy that unashamedly addresses real life issues with a walk down memory lane moment in there for everyone.
  • 'OC,' was a great heartwarming film. The realism in the bits and dialogue felt very fluid. There was not a single time I felt the cringe bug. Makes you think. In a good, happy-emoting way.
  • Over the years, the film industry has churned out plenty of comedies about the perils of dealing with unexpected pregnancy, but never has the subject been approached from such a refreshingly different point of view than in Gillian Robespierre's Obvious Child.

    Donna (Jenny Slate) is an aspiring stand-up comedian whose relationship with her long-term boyfriend has just come to a screeching halt, courtesy of his philandering. Angry and despondent, Donna unleashes her frustration onstage, crashing and burning in front of the audience before finding solace in genuine nice guy Max (Jake Lacy), with whom she shares a few drinks - and a bed.

    When Donna discovers a few weeks later that she's pregnant, her life is thrown into upheaval. A child certainly isn't on her list of desired acquisitions, and after evaluating her options with best friend Nellie (Gaby Hoffmann), she elects to have an abortion. There's just one problem: Max, the one-night stand who also happens to be the sweetest, most courteous person Donna has ever met, and is obviously interested in more than just a casual fling.

    Obvious Child differs from other pregnancy rom-coms by approaching a uniquely feminine issue from a decidedly feminine point of view. This is Donna's story, and while the film is most definitely a comedy, it treats the subject matter with respect and dignity. It's also a standout performance from Slate, who runs the full gamut of the emotional spectrum, gleefully reveling in Donna's raunchy stand-up act one moment, and losing herself in a tearjerking scene between Donna and her overbearing (but not unloving) mother in the next.

    Obvious Child will likely bear the unfortunate distinction of being known as "the abortion movie," but to oversimplify the film and marginalize it in such a manner is a huge disservice. Yes, it deals with abortion, but more importantly, it deals with womanhood in a way that few films have ever dared. It's an authentic, emotional, and yes, hilarious portrait of a young woman trying to find her way, and should be considered a landmark achievement in feminist filmmaking.

    -- Brent Hankins
  • I don't think that this is a ground-breaking film by any means, but it's certainly more interesting what what its plot summary makes it sound like. I guess it's very straight-forward, but there's a lot of good comedy in here, some witty banter and some strong characterization from the lead character. The performances are also really good, and they do feel lived-in, both realistic yet unique to the screenplay's voice. In many ways, this film reminds me of a more grounded Frances Ha, if maybe less funny and with a more likable female protagonist. Overall, this isn't anything amazing, but it certainly gets the job done, definitely recommended.
  • One of the many ingredients that so many romantic-comedies are missing today is the element of truth: truth in the dialogue, truth in its characters and truth in the scenarios the characters are put in. If there is one thing that is obvious about Gillian Robespierre debut feature film Obvious Child, it is that the truth be the guiding light for characters in the film and the film itself.

    Obvious Child could best be described as the anti-romantic-comedy, but its roots are very much brooding in the realm of the girl-centric, highly profitable genre. Yet, there is nothing highly alluring to Robespierre's truthfully crude comedy where a young comedienne shares the embarrassing exploits of her life, her bowel movements, her crusty underwear and her insecurities as a young twenty-something living in a desolate, hipster filled New York City.

    Jenny Slate, whom I only know from the HBO show House of Lies, plays the twenty-something young comedienne. Slate wouldn't seem to fit the role by simply reading the script, but from page-to screen, Slate does a surprisingly great job as a young, lost independent, creatively misunderstood soul unleashing herself to the world and the loved ones around her.

    The beginning of Donna Stern's (Slate) problems begin with her smelly, cheating boyfriend Ryan (Paul Briganti) dumping her and also admitting to her that he has been cheating on her with her best friend. Donna, who reacts almost like anyone else would, consuming a crap load of alcohol, moaning to friends and family and being miserable in any way possible, cinematically makes the break-up a lot more dramatic that it needs to be, especially since the foundation of Ryan and Donna's relationship is never seen or bonded with its audience. The break-up scene is literally the second scene in the film, so we don't empathize much with Donna. Sure enough, what's the best way to mend a broken heart? Sex! And what better way to get back with your ex than to hook up with Max (Jake Lacy), the most straight laced, squared-jaw guy anyone would find at a scuzzy bar in Brooklyn. Robespierre's dialogue does tread the line between originally inventive and subliminally juvenile, as the two's meet-cute begins by noticing each others "pee pee missiles", but hey, someone must have liked that line. Like any good drunken, dumped sex scheme, things don't necessarily go to plan, and a few weeks later, Donna's discomforting boobs lead to a pregnancy test with positive results. Perhaps not so positive for Donna.

    Abortion comedies are a very sensitive topic for me, seeing that one of my favourite comedies of all time, Knocked Up, dealt with the topic and the disastrous results of unwanted, drunken hook-ups. Although the film was funded and aided with the help of a big studio, the film dealt with the realities of people trying to make things work, when things aren't obviously working around them. The beauty about a film like Obvious Child is that such a small, indie film never gets the pressures of big studio execs breathing down their throat, therefore, the film is able to venture off into very crude and appallingly real, taboo territory of female sexuality, cleanliness and comedy.

    For the most part, Slate is excellent as Donna, a character whose journey of self-discovery and female empowerment begins the moment she gets up on the stage. One of the most obviously enjoyable parts of the film are Donna's stints of comedy on-stage. Her truthful, almost confessional type comedy is the basis of Robespierre's feature success, and brings up some of the most laughs for its audiences. It was a nice touch to see a new director handle stand-up comedy scenes gracefully and adequately edit them into the troubled world of a young girl who knows nothing about life. Donna's best stand-up scene is when she confronts the revelations of that fateful night, which turns into a therapeutic lapse into the epic non-prophylactic judgement of two people and the issues they must face or would face for the rest of their lives.

    Donna's life is the basis of her comedy, and although her life is nothing to really roll on the ground, dying of laughter, her take on the realities of everyday life allow for the film to take small, hysterical turns for a relatable brand of female humour. Women all over the theatre were unable to contain their laughter. But although the film barely runs ninety minutes, one cannot help but notice how much the use of awkward silence and awkwardness accounts for the comedy, which at times took me away from the film. I am no fan or avid-watcher of Lena Dunham's Girls, but if a feature film of the popular HBO series were to be made into a movie, I am pretty sure it would look something similar to Obvious Child.

    The uncomfortable realities of independent womanhood are the basis of Obvious Child's success as an independent feature. With an underlining motto of being "unapologetically yourself" despite your off-timing and overly crude jokes, the film is a mantra for the many urban women whose beaten up life in the city offers heartfelt laughs into raw comedy. Energetic, spunky and never dull, Slate brings new life to likable female characters whose delivery of crude comedic truth may turn off some, but inspire many.
  • Warning: Spoilers
    My second Arts/Comedy movie this week, I felt like this was one that deals with the real world. So many of us, young and old struggle to find our voice. This voice could be a calling, a talent or just a passion. Obvious child took place in New York, were, as the environment seems very open to the dark comics perspective and self-exploiting personal issues. Donna Stern's (Jenny Slate) character actually intrigues and made me fell like part of the movie. As a musician, artiest and father. I find the connection and atmosphere of living life with a dream and reality of supporting yourself in the process.

    To some this movie could be very controversial dues to its nature with Donna Stern's (Jenny Slate) character leading up to and committing to have an abortion during this period of here life. I don't look at the film as an advocate of abortion nor, do I support its cause, but more to show the perspective of young minds struggle with finding themselves as well as the realization that our decisions bring. The character showed compassion as well as her dark humor as a reaction to the decision.

    There was much truth and reality to the story as Donna Stern's (Jenny Slate) found her self in the middle of a personal struggle as well as a relationship struggle. She looked to her personal exploits to poke fun of her reality. Much understood to artiest as we aim to please others in order to make up for our own insecurities. Donna Stern's (Jenny Slate) understood what was going on around her and its effect on the on the others in her life. She aimed to share this situation with her one nightstand, but seemed to want to get to know him first. This was easiest understood as the beginning of the movie, which featured her break up with a previous boyfriend, and her temper tantrum reaction. With a bit of a stalker vibe she starts to down a path the leads to her current situation.
  • Warning: Spoilers
    I saw a clip of Jenny Slate's Donna waiting outside her ex's doorstep and I was intrigued enough to check out this movie because of it. The scene pretty much perfectly encapsulates how we grieve and incorporate bargaining into the process - she's sniffing and shivering in the morning frost, clutching a coffee and making nonsensical bets so that she can convince herself to stay a little longer and catch a glimpse of him. What Slate does with her laugh in this movie is actually fascinating; she channels it as an almost sub-conscious defense mechanism, descending into prolonged giggles every time her emotions surface and begin to overwhelm her. Here she alternates it between sobs and pathetic justifications for trying to bump into her ex, and it's so beautifully genuine because we've all done this, whether it was for smaller or bigger decisions. It's not rational, but that's what makes it real, and it often reveals our true feelings.

    The other reactions of Donna post-breakup are more disappointing because we have also seen them many times, but only in movies. The typical montage of drunken, angry phone calls, jump cuts to trim the fat but keep the one-liners, alternating between being cordial and being that psycho ex. She predictably bombs at her next show, moaning about how her world has ended, and then quickly jumps into another montage and into bed with Max from the bar. That instant spark, their loud, electric connection (they play drums as foreplay) then quickly dissipates as she sneaks out the next morning without a word. It was at this moment where I was beginning to feel embarrassed for her rather than sympathetic.

    Slate plays Donna as a new age, foul-mouthed, liberated woman. It's 2014, of course, and there is no longer anyone chastising her for not being a lady - and if there was, she'd flip them off. But she also uses the same tactic when her parents try to coax a little ambition out of her; she's on the wrong side of twenty five, and just got fired from a bookstore. At times Donna feels like a mumblecore caricature long past her expiration date, with a dash of millennial (when she is dumped he stares at his phone, right before she returns serve with two dozen missed calls). She's the type of person to spit a one-liner in the face of a difficult situation to hasten her quick getaway. She replies to almost everything, even serious offers of assistance, with the same brand of irony and snarky cynicism - even her inner monologue has an attitude. I was half expecting the reveal of her pregnancy to be accompanied by the opening bars of Beethoven's 5th. There's even a convenient placing of dog poop to let her off the hook from answering a hard question from Max. And yet she is humbled at times, and Slate is able to lead her persona away from that irreverent, 'unapologetically herself' young adult and into meaningful territory. Donna may seem like the person to storm into a clinic and point to 'abortion' as if it was on the menu of a cheap restaurant, but she resists this approach because of her inherent empathy. In this particular situation, she doesn't place much importance on the procedure, but the movie also respects others who do.

    Robespierre is fighting the tide against movies where abortion is never a path to joy. Either it is an unavoidable consequence borne out of difficult circumstances until the last moment where a sprig of inspiration leads to her keeping the baby, or she goes through the procedure and is left a mere shell. Come to think of it, I can't remember a movie where a woman has an abortion but still gets through to the happy ending without any further hitches. The act itself is nestled into the final act, not as an afterthought, but merely something that has to be done. There's no playing around with the will she/won't she moralising that other portrayals usually get bogged down in. Given the often dirtied reputation that abortion is saddled with, the movie does well to untangle the issue from layers of stigmatisation. It has been dubbed an 'abortion comedy' - two words making an unlikely combination that will immediately turn some viewers away. But more than just abortion it is about growing up. Donna grows by not pushing away a new stranger in her life for once. Max is practically perfect, waltzing up with roses, accompanying her to the clinic and giving her more than one chance, and it seems that this good a person shouldn't really exist for Donna. But I choose not to be cynical, and believe that it isn't an issue of whether or not she deserves it, but whether she recognises it.
  • "Creative energy sometimes comes from the lowest point in your life."

    Based on her short film Gillian Robespierre writes and directs her first feature length film about a comedienne who has recently been dumped by her boyfriend. It is a rom-com that has received a lot of praise for the way it tackles the issues of womanhood and abortion. The main character in this film is played by Jenny Slate and she is going through some rough patches in her life. Not only has her boyfriend recently dumped her for her best friend, but she is about to lose her job because the bookstore she works at is closing down, and she also gets pregnant after meeting a nice guy at one of her shows. Her comedic routine isn't actually working either because it is based on her everyday experiences and lately it seems to be more depressing than funny. Her brand of humor is mostly self- deprecating, but I had a difficult time finding it funny. I'm in the minority here considering most people have found this film funny, but I didn't find the humor in it. Slate basically plays a woman-child who is struggling to cope with the fact she has to become an adult. The comedy tries to be raw and honest, but I simply didn't find it interesting or funny. The romance also feels conventional at times. The film doesn't make a big deal out of abortion and that is why it has received much praise for the way it underplays the controversial issue. The film relies entirely on Jenny Slate's performance and unfortunately I never found her humor funny so that is the reason why it didn't work for me. There are way too many fart jokes in this film as well.

    Obvious Child is a film that relies entirely on the screenplay and its cast because there is nothing special in the visual department. Unfortunately I found the screenplay and the main character a bit annoying. I already mentioned how the comedic aspect of the film didn't work for me, but I will give it a little more credit for the romantic side of it. It might be clichéd in some parts, but there is chemistry between Slate and Jake Lacy, who plays the sweet and patient guy who she meets during one of her shows. The film works best when the two are together, you get that uncomfortable feeling from both when they first meet or when they want to communicate something to each other. Richard Kind and Polly Draper play Slate's parents who are separated (and you can see why when you meet both of them separately in the way they treat their daughter because they feel like oil and water). Then you have Gaby Hoffmann playing the best friend role and sharing several scenes with Slate. None of these performances really stood out for me but they weren't bad either. I just didn't find Slate's character all that interesting or funny, and at times she really annoyed me. I am glad that the film is short because those 80 minutes still felt a bit tedious considering I was never able to connect with the characters.
  • Warning: Spoilers
    Ever since it became legal for women to have abortions in real life, they practically quit having them in the movies. As a rule, if a woman in a movie has a legal abortion, she is portrayed negatively. "Obvious Child" is a major exception to this rule, for it not only portrays abortion in a positive light, it also expresses utter contempt for the pro-life point of view.

    The movie was filmed in a 2.35:1 ratio, the widescreen format typically used for action movies, instead of the more common 1.85:1 ratio that tends to be used for romantic comedies. This movie intends to present its pro-choice message in a big way. Speaking of romantic comedies, that is exactly what this movie is. Donna is a struggling comedienne who does stand-up, and she is just as funny offstage as she is on. Her humorous take on life persists throughout the film, and even her abortion provides material for one of her comedic routines. People who are pro-life need the subject of abortion to be taken seriously, and this movie refuses to do that.

    When the movie starts, her boyfriend breaks up with her right after one of her performances, and for a while she is upset. Then she meets Max, and she has the best one night stand you ever saw. But you know what that means. In movie logic, if a woman has sex with a guy just once, she gets pregnant. She goes to an abortion clinic to make sure, and when the test comes back positive, she says she wants an abortion. The doctor tries to talk to her about options, but Donna says she is not interested in hearing about those options, and simply wants an abortion. In this way, the movie snubs the pro-life alternatives. Speaking of which, we never see the outside of the abortion clinic, and thus we never see pro-life people hurling insults and carrying signs saying "baby killer" and whatnot. The movie ignores them, much in the way Donna ignores the options the doctor keeps mentioning.

    Donna is a Jew. This is important for two reasons. First, it allows for a crucial joke to be told. Because Donna's humor is always about stuff going on in her life, when her boyfriend breaks up with her, her depression over the breakup enters into her performance. Supposedly she bombs, but actually her jokes are still funny. And one of her jokes is about the holocaust. If she were not a Jew herself, such a joke might have come across as anti-Semitic. But being a Jew, she is inoculated against that charge. So, why does the movie need a holocaust joke anyway? This movie makes its attacks on the pro-life movement not through direct argument, but through the association of ideas. A lot of pro-life advocates try to equate abortion with the holocaust, arguing that abortion clinics are like the showers at Auschwitz. This movie undermines that argument by treating the holocaust itself as material for humor.

    Second, it allows for a cultural contrast between her and Max. When Donna first meets Max, a friend comments that Max is very much a Christian. This is ominous, because we associate the pro-life movement with Christianity. So, when Max comes back into her life after she has decided to have an abortion, we expect that when he finds out, he is going to take a strong pro-life position, waxing sentimental about the baby, and being appalled that she would even consider doing such a thing. But as it turns out, he is all for it. In a similar way, when Donna tells her mother about her situation, her mother tells her about the illegal abortion she had in college, which worked out fine and was for the best. And Donna's roommate Nellie is also an abortion veteran, with no regrets. In other words, no one in the movie represents the pro-life position. It is deemed unworthy of consideration.

    Much of the humor in the movie is scatological. There were several fart jokes, on and off stage, including a scene in which Max urinates outside while accidentally farting in Donna's face. There is a joke about what fluids do to a woman's panties, a joke about diarrhea, a joke about anal sex, and a funny scene in which Max steps on a dog turd. When Donna's boyfriend breaks up with her, he does so in a unisex restroom, and there are several references to his "dumping" her. Furthermore, when Donna and Nellie are in the bathroom doing a pregnancy test, Nellie sits down on the toilet to have a bowel movement. I have no problem with bathroom jokes, but they keep appearing so relentlessly throughout the movie, that it becomes clear that they are intended to have some kind of significance. Their purpose is to get us to form an association between the embryo and fecal matter. The message of this movie is that having an abortion is just a way of taking a reproductive dump. Therefore, whereas the pro-life people argue that the embryo is a human being and that killing it is murder, this pro-choice movie answers that the embryo is just waste material that needs to be excreted.

    Finally, abortion is shown to be perfectly compatible with romance. The abortion takes place on Valentine's Day, and Max brings Donna flowers and accompanies her to the clinic. He says it is the best Valentine's Day he has ever had. Later, when they are back home and she is recovering from the procedure, they decide to watch "Gone With the Wind." This, coming at the very end of the movie, is emphatic by position. They are going to watch one of the great romantic movies of all time, and it is just the right movie for these two lovers who we believe will eventually get married and live happily ever after.
  • Oh to be twenty-something. I'm approaching those turbulent days now. It's a tough topic really, especially if it's intended to be approached authentically. It can be utter self-indulgent trite. Obvious Child is close enough to getting it right. It suffers from a lot of familiarity in its beats, but it's well-handled enough to make it work without being overly quirky to compensate. It's mostly thanks to Jenny Slate's great performance. I only recognise her from her silly one- note part on Parks and Recreation, but here she shows off her potential. She handles the humour and drama with ease, confident with the vulnerability of her character. It has a thoroughly endearing dark wry sense of humour to go with it. However, sometimes it toes a fine line with its creative flourishes and contrivances, such as when Slate is waiting for her pregnancy test and David Cross' whole character, but it's not enough to derail the whole film. Obvious Child is small but entertaining and emotionally engaging film.

    7/10
  • Jenny Slate plays a twenty-eight-year-old by the name of Donna Stern in Obvious Child, who makes a living working in a bookstore and performing irregularly at some of Brooklyn's seediest comedian clubs. Her humor reminds of Sarah Silverman, as its punchline, regardless of the joke, is that a woman can be just as crass and dirty as a male comedian can. The problem is it results in little that is actually funny and more of Slate, and writer/director Gillian Robespierre, pushing the envelope and seeing how far they can go with their jokes in order to achieve something that is allegedly funny. It's not that Slate isn't a gifted performer - she's sly and has mastered the art of being able to throw herself in a plethora of different situations and remaining believable throughout all of them - but that consistently tries to be funny by using excessive vulgarity and sexually-explicit scenarios that are ineffective and lifeless.

    Obvious Child, however, is more than just my brief summation; it's actually a millennial romantic comedy with a shockingly nonchalant and comedic look at abortion. Donna winds up being dumped by her longtime boyfriend, who finds their relationship stagnant and her jokes about their love-life quietly offensive, as he hopes to turn over a new leaf with the woman he has been cheating on Donna with. On top of that, she loses her job and gets pregnant by sweet and well-meaning Max (Jake Lacy), whom she had a one-night-stand with in light of her breakup. With this, Donna, a free-spirit and a fly-by- the-seat-of-her-pants woman, is forced to seriously contemplate single motherhood in a way she never had to before. She schedules an abortion and, ironically, gets scheduled for February 14th, further plunging her into a realm of contemplation she never foresaw herself entering.

    Obvious Child plays a lot like Lena Dunham's directorial debut Tiny Furniture, but doesn't find itself as incessantly artificial as it. The film is corrupted because it takes the annoying traits of its characters and makes a film that functions like one of them, as well, including being mixed with frustrating conversations that reveal nothing about the characters, dodging and weaving through motivations and internal-thoughts of the characters, empty attempts to humanize these people outside of the quintessential idea of a liberal millennial caricature, and making every other character in the film besides Donna a faceless soul.

    What results is a film that lacks any form of engagement to the audience. A film where abortion is taken in a simultaneously comedic but contemplative light is ripe for a wealth of intriguing commentary (Juno toyed with the concept and did a fairly nice job), but Obvious Child exercises the idea in a way that I find indistinguishable. I cannot tell if I'm supposed to sympathize with Donna, or scoff at the way she can write off big life decisions or simplify their significance.

    This is the same issue I took with the aforementioned Tiny Furniture; I'm unable to tell if I'm supposed to recognize that the world created in that film was artificial or regard it as an accurate depiction of contemporary Brooklynites. Was I supposed to be inherently detached from the main characters of the film or was I supposed to try and form some sort of connection to them as their asinine lives unfolded. While Obvious Child at least finds itself with an idea it wants to execute - the comedic or, at very least, light-hearted portrayal of abortion - despite not finding an adequately funny or thoughtful way to explore it. For a film proclaiming a character in it to be "obvious," I strangely found the film to be anything but.

    Starring: Jenny Slate and Jake Lacy. Directed by: Gillian Robespierre.
  • It's amazing when a director's first movie is as nearly perfect as this one is. It's a marvel. It's richly funny and touching and entertaining, but it's also exactly what we as a society need right now.

    Until I saw this, I hadn't noticed the extent to which the conservative nuts have turned abortion into something so vile that even its supporters are afraid to talk about it as anything but an evil last resort. It's unbelievably refreshing to spend an hour and a half in a world in which abortion is not only an acceptable alternative to childbirth but the healthy and valuable medical procedure it is in fact.

    Thank God for Gillian Robespierre and the wonderful people who helped her make this movie. Jenny Slate (obviously) and Gaby Hoffmann, whose strength as an actor grows with every movie she makes, deserve special praise for their fantastic performances.

    The trouble with conservative Christians is that they don't believe their own religion. If they did, they would have no objection to abortion, because it delivers the unborn child from this painful and dangerous world directly into the arms of their loving Father forever. Christians preach that God, but they don't really believe in him.

    If Christians believed their own religion, they would not reject or judge anybody; they'd embrace everybody, because that's exactly what Jesus did. Jesus welcomed everybody who came to him, especially sinners; he judged and excluded nobody. He preached love and healing, not judgment and condemnation. Christians have traded their loving God (the only true god) for a false god of vengeance and terror who's no better than Allah or Kali.
  • Romantic comedies aren't exactly my favorite genre, but occasionally one comes along that transcends the clichés and is rather watchable. This is one of those movies. Although it could have been a little more substantive, it was refreshing to have a movie tackle such a serious subject with a level head and some aplomb. Jenny Slate plays Donna, a young stand-up comedian who, while not financially successful, has a future ahead of her and a good sense of humor about herself (which she metaphorically bares on-stage). However, after being broken up with by her boyfriend, her life goes into somewhat of a downward spiral. Along the way, she meets a nice guy named Max, with whom she ends up having a one night stand. However, to her chagrin, she ends up getting pregnant and decides to have an abortion. The problem is, if at all, how should she tell Max? The biggest strengths of the movie are with the characters, who seemed very natural and closer to real people than is the case with most movies like this. Despite the short running time, Max and Donna are able to develop a believable relationship even if it's based on something a lot of people consider horrible. Also, to the movie's credit, it is rather funny and inspired at times. Still, for me at least, there were some comedic bits, particularly in the stand-up scenes, that just didn't hit for me. Also, I felt that the movie could have gone more into depth with some additional social commentary. Not that it should have been preachy, but for a film that tackles such a controversial subject this one played it rather safe. Still, it was worth it to have the subject of abortion broached at all. Overall, this is a comedy that won't be for everyone, but it is worth watching for those open-minded enough to give it a try.
  • Donna Stern (Jenny Slate) is a comedian. Her boyfriend Ryan breaks up with her. Her job is going away as the book store is closing down. Her best friend Nellie (Gaby Hoffmann) tries to lift her spirits. Her parents (Richard Kind, Polly Draper) are apart. After a real bad set and a drunken night, she has an ill-advised one night stand with Max (Jake Lacy).

    It's a single gal comedy with a lot of inappropriate humor. It has some funny moments with one hilarious scene by the insanity of David Cross. As a rom-com, the com is great especially if you like Jenny Slate's brand of inappropriate humor. The romance needs time and space. The story doesn't allow Max to have enough time with Donna. I almost feel like the romance is coming after the movie ends. They could have a great romance but it can only really start in this story.
  • This movie was incredible. Jenny Slate is wonderfully relatable and real, and the film somehow managed to dodge every romcom trope I had expected of it. The premise didn't really grab me, a young female comedian finds herself pregnant after a one night stand. Meh, I assumed it would avoid any real commitment into discussing the reality of abortion, or the terror that can often come with the discovery of having a potential human inside of you.

    But man, this was a really honest look at what it would be like to have to make this kind of decision. And somehow, while being frank and beautiful and impeccably acted, it is also hilarious. In a way that some people you know are hilarious, not in a joke-joke-punchline-punchline Seinfeld episode kind of way. The stand-up scenes fit seamlessly instead of feeling forced or tacked on. The relationships feel established and multi-faceted, and there are some real emotional themes without it ever feeling too heavy.

    And let's face it, the "Rom-Com Abortion Dramedy" isn't exactly an established genre, it took some guts to make this kind of movie. It's a gem, truly, and in my opinion, a really important film.
  • I have mixed feelings on the film- it's both honest and unrealistic. I feel it tackles an important reality, and Jenny Slate's character is refreshingly honest, but I felt some of the romantic interactions were unrealistic.

    I liked that it tackled the reality of unwanted pregnancy, which is that many women have early-term abortions. As I am a 28-year-old woman, I found Donna honest and pretty relatable. The humor was crude for the most part, but I laughed out loud at several points. The chemistry wasn't dynamite, but Jenny Slate and Jake Lacy were funny and endearing together.

    On the other hand, while the film tackles a very real subject, I thought the interactions between Donna and Max see-sawed between totally relatable and really unrealistic. I didn't like how the film glosses over all the actual communication that would have to occur between a couple like Max and Donna. It just didn't seem real to me.

    Jake Lacy is adorable, but I also didn't feel he met the script's requirement that he convince us why this straight-laced MBA guy was so head-over-heels with the crude jokester Donna.

    Some reviewers seemed to have missed this, but the film is pro-choice (obviously). The film's heroine has zero doubt that abortion is what she wants. The film does not even mention the other options by name; there is zero discussion about them. So, this is a partisan film. (Which is not necessarily bad- but I think we should recognize it for what it is.)

    Also, the title makes little sense to me. Is the Donna the "Obvious Child" because she's honest? Is her decision obvious?
  • Warning: Spoilers
    Such a gentle, tender, heartwarming movie, about New Yorker Donna Stern (not a girl, but not yet a woman, cue Britney), who's in her late 20's, just broken up with, working in a bookstore during the day and doing stand-up at night. Jenny Slate invests her with surprising tenderness and pathos, making her a full, rounded character, regarding the world with trust and suspicion (watch that scene with David Cross as she watches him clumsily make move after move), trying to make the right decisions and correct the bad ones and sometimes failing, just trying to be true (which she, sometimes helplessly, can't help but be during her stand-up, hurting those close to her, but reaching something close to the purity of art). She's never a caricature, which is to the credit of Slate and writer/director Gillian Robespierre.

    And then she gets Knocked Up. Which the film treats with respect and adult understanding, unlike "Knocked Up," which can't even mention the word "abortion." This is by far the most refreshing part of "Obvious Child" -- the characters never devolve into rom-com conventions, and their actions seems derived from an understanding of how real people interact.

    And somehow Slate and Robespierre manage to make the whole thing funny, which just seems magical and miraculous.

    Gaby Hoffmann deserves a shout-out as well, as the roommate/best friend.

    Go see it on a first date (I did!), it'll really open up the conversation during dinner!
  • Warning: Spoilers
    From the beginning this has the feel of a film version of a one-woman show. Donna is a stand up and we open with her act. She's not just funny, but intelligent and complex. It makes us feel that we are going to get this combination from the film itself. The opening scenes are brilliantly nuanced, well acted, raw, fresh and engaging.

    As the film progresses, however, the film does seem to wuss out of its own premise. When she reveals she is getting an abortion to her mother, who was previously cold and judgmental about her life, she suddenly becomes ridiculously cool, and her father is just cool from the beginning. All her friends are cool also. Just cool. The main potential source of tension, then, is with the guy who knocked her up. But he is also...relatively cool, even as she announces the pregnancy/impending abortion to him as part of her act (though he does walk out, he turns up next day with flowers). She had previously been dumped, in part, for bringing those in her life into her raw stand up routine, so this seems like another plot strand which is undeveloped, along with the closure of the book shop where she works and her impending poverty.

    This film would have been so much more than a one woman show, had the other characters, and potential conflicts, been explored much more strongly. The love interest, in particular, seems one dimensional, and just wrong for the protagonist, who would surely need someone much less bland.

    That said, there is a lot to enjoy in this. Jenny Slate, Gabby Hoffman and Gabe Liedman are terrific, they make you wish you could hang out with them. And, unlike a lot of other comedies this year, it doesn't try too hard to be funny with one liners and set pieces. It just is funny, and, in its best scenes, very charming.
  • Warning: Spoilers
    I see only one woman has reviewed this, so that partially redeems women, who seem largely responsible for this mess. This story seems to have been told and re-told lately, and I'd like a new one, please. Late 20s-something female in the Big City is adrift, playing at "comedy" (although neither my wife nor I saw anything to laugh at), rejected (quite rightly) by her boyfriend, and has a nothing job in a bookstore that's going out of business. New guy inexplicably falls for her, they have sex, she gets pregnant, decides to have an abortion, eventually tells him, he says nothing but supports her by going with her to the clinic, and then they start to watch Gone With the Wind (although where are the bells in the opening soundtrack of GWTW?). Sadly, the Jenny Slate character doesn't seem to have any redeeming qualities. Self-pity is not a redeeming quality. There is no indication whatsoever as to why the guy falls for her, other than the fact that she seems to be available and drunk. And I have to say the abrupt ending threw me.

    So…after spending almost two hours of my life, what's my takeaway here? Abortion good, hard work bad? Some guys will date almost anyone? What's the point in trying because I can't be as good as my mother? If this was indeed about abortion, as some seem to think, it doesn't get much air time…Jenny says "I thought about it" and leaves it at that. We have no indication as to what thoughts entered her mind. The guy has no say. Really? The only likable character was her mother: was this to remind us that that "Thirty-Something" (where the actress gained fame and fortune) was actually a far superior show about young people? And I'm sorry, but why the title? "Obvious Child"? Who's the child? Jenny? If it's the aborted baby, why on earth is he/she obvious? And if it's Jenny, are we supposed to celebrate that fact that she's 28 or so and totally clueless? Is that a good thing? Sorry, thumbs way down from me.
  • There aren't enough movies that show the positivity of such a painful subject. This movie made me laugh out loud more than once. I loved the matter-of-fact way the subject was introduced and the follow through within the movie. It felt real without being preachy. I can't say enough good things about this movie.
  • punishmentpark18 January 2016
    Warning: Spoilers
    I got curious after some positive review elsewhere, and since this looked like it could be a nice sort of blend of 'Girls' and 'Louie', I decided to give it a go. After the film I read some really positive comments on ICM, and was a little surprised. The movie really isn't bad, but I'd say I was only half charmed by leading lady Jenny Slate, and the film. It turns out I've seen her before in 'Girls' (must have, but I don't really remember) and I must have heard her before in the very funny show 'Bob's burgers' (during the movie, I díd think of Donna as being a real life, later on character from that show from time to time). And now that I'm checking her list, I'm sure I saw her in 'Parks and recreation' (okay show, much in the vein of 'The office' U.S.) as well.

    Anyway. A romantic comedy. And funny. But awkward. Very awkward. Then cute. Then funny. But awkward. Then sexy and energetic for a bit. Then back to funny. And awkward. Then sweet. Etc.. The end. I exaggerate, because I was really just half charmed most of the time. The direction and cinematography were quite plain, and Jake Lacy did hardly convince me. But a lot of the content, commenting on many modern day and more general subjects, was interesting and witty enough.

    Special mention: Richard Kind's small part as the father, always a pleasure to see him perform.

    Shall we say, a decent 6 out of 10? Done.
  • larrys314 October 2014
    Warning: Spoilers
    Why does a movie do a 180 in the final 15 to 20 minutes and give us something worthwhile, with the first hour here devoted to cringe inducing and painfully unfunny situations and dialog. Also, I found this film to be filled with lots of anti-male stereotypes as it progressed.

    Jenny Slate stars as Donna Stern, a part-time stand up comic and part-time bookstore employee, in New York City. After her boyfriend dumps her, she ends up having a one night stand with the super nice guy Max Brown, portrayed by Jake Lacy.

    In a few weeks Donna finds out she's pregnant from their sexual encounter, and begins to move forward to possibly have an abortion, suffering through all the emotional turmoil that accompanies such a decision. Things get even more complicated when Max comes to the bookstore, and asks her out again. Donna also must decide if she wants to tell her mother (Polly Draper) and father (Richard Kind).

    This movie seemed to be trying so hard to shock the viewer with raw language, as well as a myriad of scatological and sexual jokes, which fall as flat as a pancake. As mentioned, only in the final minutes did I get a sense that I was watching an actual story that might have some entertainment value. Sorry, overall, this film has to be rated poorly in my book.
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