A curious case of a promising comedy in theory but majorly disappointing in execution was the recent Netflix film Wine Country, starring Saturday Night Live alumni Amy Poehler, Maya Rudolph, Tina Fey, and Rachel Dratch as wine-loving best friends who reunite for a tipsy birthday gathering in Napa. The movie possesses several cringe-worthy moments: a long rant about how millennials suck and stories about being overworked, losing work, and getting a potentially fatal medical diagnosis, all of which feel shoved into the film’s freewheeling plot, clearly aiming for an emotional resonance that is so scattered these plot lines end up feeling stilted.
The salad often includes a number of clichés: a vacation locale for the women to convene, some gross-out humor, a drug trip sequence. These movies, in an effort to depict stale ideas of “raunchy” women, fall into the trap of tired tropes. The fact that the women need to feel real then gets lost in the mix.
The women’s relationships with one another also have to feel real. Ensemble comedies have come to resemble “assembling the team” montages in heist films, with women in interchangeable roles.
“They are this demographic. If something didn’t pass the sniff test for any of our lead characters we went back and made sure that it would.” It’s that sense of realistic camaraderie, in the script and performances, that separates a great comedy from a forced one. “I think one of the great blessings of this movie is we had the four lead actresses come in and the friendship that was formed, because they hadn’t worked together before, was really real,” Holderman says of. “The chemistry that you see in the movie was really the chemistry that was happening on set.”faced similar criticism about its disjointed filmmaking.
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