One of the year’s best movies has arrived on Blu-Ray, DVD, and digital formats—The King of Staten Island. Pete Davidson stars in the semi-autobiographic comedy from director Judd Apatow, who co-wrote the script with the SNL breakout star.
The surprisingly moving, heartfelt, and hilarious film chronicles the life of a man-child if there ever was one. Davidson stars as Scott, an individual who has struggled with life on various fronts… all since his firefighter father died in a blaze when he was young. He’s a twenty-something meandering soul who still lives in his mother’s house, all while his sister (played by Maude Apatow, who is excellent) is prepping to head off to college. Scott has a girl friend who keenly understands how his pals mean as much to him as anyone in the world, including her. That space between “girl” and “friend” is on purpose, as Scott’s relationship with Kelsey (Bel Powley) is about as mature as one can imagine he is, which is not at all.
Scott does have a dream. That is to become a tattoo artist and even his friends have done their part in this endeavor—allowing him to tattoo them! So far, he’s not that good and there’s even a scene where he goes to a local tattoo artist and asks to intern or to at least learn from him (played by Machine Gun Kelly). That would be a hard no.
Things are what they are in Scott’s world and there appears to be little movement to change anything about his life. That changes when his mother, Margie Carlin (Marisa Tomei) starts dating Bill Burr’s Ray Bishop. She hasn’t dated anyone since her husband tragically passed and the arrival of Ray rocks Scott’s world. Making matters worse (or at least weirder) is the fact that Ray is also a fireman. This triggers a whole tsunami of reactionary emotions that drives the entire narrative of The King of Staten Island. It’s an impressive journey that is equally as endearing as it is smartly humorous.
Much in the same way Apatow helped craft Trainwreck with comic Amy Schumer, he has helped orchestrate the perfect starring vehicle for a comedian who parlays their public persona into a story that is rich, riveting and plays to their comedic strengths. Whereas the Schumer vehicle focused on the main character who has trouble with love, relationships, and sex, Davidson’s flick centers on a “slacker” who can’t seem to find his mojo. Why both work so well (adore Trainwreck, King of Staten Island actually is a more complete film) is largely due to a comedic director whose gifts in this milieu are well documented (The 40-Year-Old Virgin, Knocked Up). He has smartly sat down with a comedienne and a comedian and penned scripts that take their comedy sensibilities and amplifies it for the big screen—all while injecting a story with stellar pacing, and rich and engaging protagonists, and the overall message that there is hope for all of us.
Davidson is truly something special. The man is (thankfully) becoming more known for his work on the big screen in the last nine months than sensational headlines over his love life with a few famous females (Ariana Grande, Kate Beckinsale). He was sensational in Big Time Adolescence and has such incredible command over audiences with this latest. The comic’s gift is unique and requires threading a comedic needle with each successive role. It would be easy to not like Scott. After all, he puts a strain on his mother (she endlessly worries about him), is directionless, has a lovable woman who adores him who he doesn’t treat badly—he just is rather aloof when it comes to relationships—and possesses a unique view of the world that he’s entitled to happiness without putting in any kind of work to earn it. Few actors can pull that off. What the SNL veteran does with King is open himself up to the potential for change and how every single door that closes in his face shouldn’t be seen as the end of the road, it may simply mean a different avenue is the answer. As such, his relationship with every single soul in this film alters and morphs exponentially over the course of the film. That is character development and in the hands of an actor of Davidson’s mettle, with Apatow’s guidance, it is a treasure to witness.
Tomei is brilliant in the maternal role that in so many other films of this ilk, would have been an afterthought. Apatow pens strong roles for women and always has over his career. Margie is a mother trying her best to raise two children by herself, all while still mourning her husband’s death decades after it happened. When she opens herself up to the possibility of love, that seemingly selfish act (at least in her eyes) in fact is what slingshots this entire story towards growth for all who encircle her orbit.
Burr matches her magnificence note for note. He himself portrays a character that might be hard to appreciate, given his strong distaste for Scott (after all, how he becomes involved in their lives at all centers on his elementary school child who comes home with a tattoo courtesy of you-know-who!). After all, by the time Margie and Ray start dating, viewers are firmly pulling for Scott to pull himself together. The way Apatow and Davidson have written Burr’s character, it is about as organic of a character evolution as can exist and still be comedic and compelling. And don’t get me started on how important the introduction of Ray’s little kids to the equation! They’re adorable and the scenes with them and Davidson are among the film’s most valuable.
Comedies can be hit or miss when it comes to bonus features. The King of Staten Island has outdone itself in that category, with over two hours of never-before-seen features that enhance the picture and enlighten viewers as to how the cinematic lightning was captured. We recommend starting your featurette journey with The Kid from Staten Island. The featurette is an informative look at the star’s real life and how it informed the film. Both star and director sit down for this extra and hearing the two wax poetic about the other is truly fascinating and gives us unparalleled insight into each man. Adding much to this almost 20-minute feature is commentary by Davidson’s friends and family, as well as fellow cast members from King.
For anyone curious about how the filmmaker does his thing, Judd Apatow’s Production Diaries is going to be your jam. The over thirty-minute featurette sits down and addresses the camera for each day of the shoot. As such, we get an immediate and bare-boned honest look at the various shooting days and how they came together—after witnessing his film.
You’re Not My Dad: Working with Bill Burr is exactly as it’s billed. Apatow provides insight into why Burr was the perfect choice to play Ray. Also included in this featurette is the man himself, and it’s always terrific to hear the candor from the man who never minces words.
Never miss the opportunity to learn more about Tomei and the awesomeness that is the Oscar winner. Fans unite! She gets her own bonus feature with Margie Knows Best: Working with Marisa Tomei. Apatow uses the word “honor” to describe working with Tomei and that sentiment could not feel more endearing after experiencing this featurette. Not only does this extra explore her stellar talents, but also how she—personally—was just such a joy to have on the set.
After stealing scenes in The Morning Show opposite Jennifer Aniston and Reese Witherspoon, Bowley is on a roll. She even gets her own featurette with Friends with Benefits: Working with Bel Powley. The actress reveals her friendship with Davidson and how that bond added layers of richness to their onscreen relationship.
The director’s daughter gets her own featurette with Sibling Rivalry: Working with Maude Apatow. The young actress provides some interesting perspective on the filmmaking gifts of her father. She also explores the challenges of playing Davidson’s real-life sister and the pressure when portraying someone who is real, especially someone who means so much to the film’s star!
A legend gets the spotlight in Papa: Working with Steve Buscemi. I mean, who doesn’t love Buscemi?! Apatow and Davidson talk about the man who has done it all over his career, from working with Scorsese to Adam Sandler. This featurette delves into why he was the perfect choice to play Papa and how he served that role on the set as well.
An incredibly moving featurette is a tribute to Pete’s dad, Scott. Scott Davidson Tribute chronicles the life of the FDNY member who perished tragically on 9/11. Apatow, Davidson, and his family reflect on the life and legend of Scott and one can see why Pete is who he is and more importantly, how this film is a nice tip of the fireman hat to someone taken way too soon.
The Firehouse is just what one would think it would be, a look at shooting in a real firehouse in New York City and how they felt immense pressure and responsibility to do justice to a vocation that always puts others ahead of self.
The world we live in rears its head on Video Calls. The King of Staten Island was supposed to be released in theaters, but thanks to the Coronavirus, that of course didn’t happen. So too was a premiere and a press tour. It is a riveting and humorous look at the world we currently live in as we get to experience the various video calls surrounding the film’s release and its promotion. From Davidson pushing Apatow to release the flick online to one where Apatow and Davidson call Burr to tell him that there won’t be a premiere. It’s a product of our time, and nobody handles it better than a group of folks with a penchant for the funny.
Got to love Apatow’s straight ahead, non-word mincing with the moniker for the alternative endings, plural! Alternative Endings (Which Didn’t Work!) gives us these story conclusions that just missed the mark. There are deleted scenes and a terrific over-five-minute gag reel.
Lastly, do not miss the commentary track for this film. Witnessing it while hearing from Apatow and Davidson as the magic happens is simply priceless. Clearly these two have an unspoken connection that is just pitch-perfect, one is left with one wish as the commentary closes—please, oh please let these two work together again in the future… the near future.
Film Grade: A
Bonus Features: A+