POETIC LICENSE is a hilariously entertaining comedy with an ambitious directorial debut from Maude Apatow. It’s hard to believe this is her first film, because she expertly balances an ensemble cast, as well as the script’s complex tone, which has a lot of emotion within the comedic moments. More than anything, I also love that the film gave a meaty lead role to a woman over 50 and celebrated her desirability. Leslie Mann is great in every performance, but this may be my favorite yet.
POETIC LICENSE centers around Liz (Mann), who is struggling with two big changes in her life. She and her family have recently moved to a new college town in support of her husband’s new job as a professor. And on top of that, her daughter is about to leave for college, and is more interested in hanging with friends than her mom; the threat of being an empty nester looms large in Liz’s mind. To do something for herself, Liz decides to audit a poetry class, where she befriends Ari (Cooper Hoffman) and his best friend Sam (Andrew Barth Feldman). The trio quickly begin to hang out more, with the guys convincing Liz to join them in some more traditional college activities. But what starts as a friendship soon develops into more, at least on Sam and Ari’s part—they begin to develop feelings for Liz. Liz is pretty oblivious to their attraction, instead just enjoying the attention she’s finally getting from people in her life. But with both guys infatuated with the same woman, the tranquility can’t last for long…
Apatow could have chosen so many projects for her directorial debut, and I think it’s a total credit to her that she picked a film like POETIC LICENSE that has so many moving parts. The most difficult of these elements is balancing the tonal shifts between comedy and drama. Screenwriter Raffi Donatich’s brilliant script has as much heart as it does humor, and navigating that tightrope walk could be difficult for any director. Jumping into the deep end on your first film is quite the choice, and Apatow proves that she has what it takes. I can already feel Apatow’s voice coming through on-screen too, giving the film a distinct character that I am excited to see play out in her next projects.
Leslie Mann is a gift in every movie she’s a part of. From films like THIS IS 40 all the way back to GEORGE OF THE JUNGLE, Mann always elevates every movie she’s in. And her performance in POETIC LICENSE is her most memorable (and charming) yet. I love that Apatow cast Mann (her real-life mother) in such a complex role, which enables her to show off more of her dramatic chops than I’ve seen in any other performance. Instead of coming across as a seductive cougar, going after college boys to bolster her own self-worth, Mann makes the role more interesting. In an almost child-like way, she is yearning for some direction and harmless attention… to relive some of the fun she had in college so she can feel something again. Of course, that only complicates matters, but I love that the film gave Mann’s character such an interesting arc.
POETIC LICENSE wasn’t on my initial list of must-see films at the Toronto International Film Festival, but I added it on to support a female-led movie and I am so glad I did. This film was one of my favorites at the Festival and one of the funniest films I have seen this year. Maude Apatow is making a name for herself outside of her familial connections, proving she is more than any “nepo baby” title. I can’t wait to see what other projects this triple-threat talent has coming our way, and I hope it involves more Leslie Mann!
My Review: B
