In Review: The King of Staten Island

After his longest filmmaking gap since emerging with The 40-Year-Old Virgin, Judd Apatow returns with another character piece about someone getting their shit together. His films have been defined by focusing on protagonists with atypical charisma and unexpected depth, taking archetypes like the stoner of Knocked Up or the promiscuous drunkard of Trainwreck and giving them complete arcs. More than that, his films aim to challenge reductive perceptions of his heroes while also allowing them to grow in organic human ways. His latest, The King of Staten Island, entirely misses the mark on all of these elements.

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