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- The Location Is Key in Bad Shabbos
- Bad Shabbos Has a Lackluster Climax
Summary
Bad Shabbos
offers a darkly comic take on family dynamics during the Sabbath but falls flat with a predictable ending.- Talented veteran actors add humor to the mix, but the film struggles to resonate beyond those familiar with Jewish traditions.
- Location plays a crucial role in the film's antics, but the lackluster climax fails to deliver true comedic satisfaction.
Shabbos is the Yiddish word for the Sabbath, where observant Jews rest, dine, and celebrate their faith with family from sunset on Friday to sunset on Saturday. Bad Shabbos adds accidental murder to the equation in a darkly comic religious romp that quickly runs out of steam. A talented cast of veteran actors squeeze every drop of humor from the schtick. And then bandy about in strained, hand-wringing anxiety to a predictable conclusion that was broadcast in the literal opening. The film gets a few chuckles but probably won't resonate beyond those who currently practice or have a nostalgic remembrance.
On New York City's Upper West Side, Ellen (Kyra Sedgwick) and Richard (David Paymer) prepare Shabbos dinner for their very different children. David (Jon Bass), the eldest son, has recently become engaged to Meg (Meghan Leathers), a former Catholic who has embraced Judaism and is taking classes to prepare for their wedding. Abby (Milana Vayntrub) is the middle child with a truly obnoxious and condescending boyfriend, Benjamin (Ashley Zukerman). Rounding out the family is Adam (Theo Taplitz), a coddled brat who still lives at home, pops anti-depressants and laxatives and works out feverishly in the hope of joining the Israel Defense Forces (IDF).
Bad Shabbos
2/5
Bad Shabbos follows a comedic evening as an interfaith couple comes back home, and their parents meet for the first time over Shabbat dinner. Over the course of the night, the family get-together takes the audience on a dramatic journey of emotions when an accidental death gets in the way.
- Release Date
- June 10, 2024
- Director
- Daniel Robbins
- Writers
- Daniel Robbins , Zack Weiner
- The characters are mostly well-written and likable.
- Bad Shabbos provides insight into Jewish traditions;
- The film plays into some broad Hollywood steretypes that aren't flattering.
- The ending doesn't work.
- For a comedy, there aren't many laugh-out-loud moments.
David and Meg arrive first with nervous apprehension. Ellen has made it crystal clear that she disapproves of Meg and their interfaith marriage. Meg's Catholic parents, John (John Bedford Lloyd) and Beth (Catherine Curtin), are also invited. It will be the first time the families have met. David hopes the religious differences won't be a problem and everyone will play nice for the couple's sake. His real concern is Adam and Benjamin, who truly despise each other.
The pleasantries vanish from the start. Ellen has no interest in Meg's desire to help prepare dinner. Benjamin targets Adam as a loser and the family's black sheep. Abby and her father try to stay out of the fray, but no one is immune to the bickering. Tensions escalate to a practical joke with disastrous consequences. The family finds themselves stuck in a dire predicament, with Meg's parents showing up at any second.
The Location Is Key in Bad Shabbos
Bad Shabbos is primarily set in Ellen and Richard's gigantic duplex apartment with a breathtaking view of Central Park. Location becomes key when the shenanigans kick into high gear. Those who pay a fortune to live in tiny New York City abodes will be foaming with jealousy at the cavernous living space. The characters bounce around, trying to conceal the damning evidence from each other in near slapstick fashion. Hmm...what could the boys be doing in the kitchen for this long? The idea that the gig wouldn't be up in mere minutes is a big pill to swallow. Willing suspension of disbelief is a must with this premise. But you can only hide a 200 lb secret for so long before the blame game and panic set in.
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Insert the proverbial "magical negro" to save the day or at least try to mitigate a disaster. Method Man co-stars as Jordan, the building's doorman who loves the family and their Jewish adherence and is David's obvious outlet for help when trying to conceal a capital crime. It fits the age-old Hollywood tactic of having the film's only black character exist to help the white ensemble at his own possible peril. That said, Jordan does provide a welcome breath of fresh air when the family's collective "oy vey" or woes begin to lose comedic luster. His reaction to what transpires is the funniest part of Bad Shabbos.
The characters are likable, and you do root for them to succeed. Their angst towards each other isn't deep-seated or hateful. Writer/director Daniel Robbins (Pledge, Uncaged) makes sure there's no real villainous intent. This is just a normal family squabble that accidentally drives off a cliff with a Jewish twist. Audiences love David Paymer. He's an endearing actor. There isn't a chance in Hades he'll step foot in prison. In that sense, the ensuing fracas is toothless because it's obvious everyone will get away scot-free.
Bad Shabbos Has a Lackluster Climax
There's never a point in the film where Meg explains why she's so willing to convert. We assume she loves David and his beliefs and finds a belonging with him. Ellen's constant dismissal of her efforts to fit in feels forced, like a bad sitcom. She doesn't have to like David marrying a former Catholic, but should somewhat appreciate her radical lifestyle change.
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The script would have been better if an actual personality conflict existed between the two outside of religion. Then, overcoming their differences would be an accomplishment. At the very least, Bad Shabbos provides insight into and understanding of a primary Jewish tradition. Families getting together to enjoy each other's company is a universal human theme. Collaborating to conceal a murderous plot may be a bridge too far. Bad Shabbos is a production of Carnegie Hill Entertainment.
Bad Shabbospremiered at New York City's Village East by Angelika Theater as part of the 2024 Tribeca Film Festival's Spotlight Narrative Films.
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