“Best friends trip. This is going to be iconic.” -Lolo.
Hearing that Adele Lim was writing and directing a raunchy comedy was a shock (but a good kind of shock). The screenwriter for the much beloved Crazy Rich Asians became someone to watch when the film hit theatres. It looked like Lim would be focused on the follow-up to the film, but foolishness prevailed, and thank God it did. Seth Rogen and Evan Goldberg signed a first-look deal with Lionsgate through their production company Point Grey Pictures, and one of the first projects to come out of that was the original R-rated comedy from Lim and screenwriters Cherry Chevapravatdumrong and Teresa Hsiao, based on a story they developed with Lim. Lim not only found herself in a position that served her better, but she also took the leap to feature film directing and knocked it out of the park.
Joy Ride follows Audrey (Ashley Park), an Asian-American adoptee, as she goes on a business trip which turns into an impromptu road trip across China to find her birth mom with her best friends, Lolo (Sherry Cola) and Kat (Stephanie Hsu) and Lolo’s cousin Deadeye (Sabrina Wu). What starts as a career-defining trip turns into a chaotic adventure with friends and then a journey of self-discovery. Audrey’s mission is simple: go to China to win over some rich guy for the law firm she works for, then find her birth mother for a long-awaited reunion. Nothing can go wrong, right? But, of course, everything goes hilariously wrong.
This R-rated comedy is a blast. Folks are quick to compare and contrast the film with others like Bridesmaids or Girls Trip, but Joy Ride is its own thing. It is a fast-paced, propulsive, hilarious, and profoundly moving film about friendship and family. There are as many nuanced character study moments as sex jokes, and Lim nails the enormous task of bringing it all together cohesively. Lim’s directing efforts here hint at a career filled with absolute bangers. Chevapravatdumrong and Hsiao’s script is impeccable, weaving together an emotion-driven story about finding one’s family with relevant social commentary and gut-busting jokes. This film could have fallen off the tracks in many ways, with many opportunities for jokes to come across as being in poor taste or just not right. Still, Chevapravatdumrong and Hsiao commit to their vision and deliver a delightful film that speaks to the Asian-American community and the Asian diaspora generally.
The comedy is raunchy as hell. There are several laugh-out moments. There were many times when I didn’t think I would make it out alive because my laughter stopped me from breathing! However, the best aspect of the comedy is that it is well-rounded. There’s situational humour, witty one-liners, raunchy bits, and actors who know how to get a laugh with their facial and physical movements. The writing is reckless and carefree; you can feel Chevapravatdumrong and Hsiao absolutely letting loose. But for as wild as the movie gets, it is never without a point. The raunchy humour only reinforces sexual liberty and acceptance. This isn’t a case of “Look, women can make sex jokes, too, haha.” No matter how raunchy the jokes are, they come from an honest place. Numerous jokes and humourous situations explore the difference in perspective and biases within the Asian community as represented by our four leads, who have varying upbringings and relationships with their motherland, China.
Audrey’s story is the core of the film. Audrey has a work thing that takes her on an opportune trip to China, but her bestie Lolo has always been keen on reuniting Audrey with her biological family and steers Audrey in that direction. Lim, Chevapravatdumrong and Hsiao tease the audience with what they think they want. A brash, audacious road trip that ends with a heartwarming reunion and the fortification of friendship. The film does succeed at that but takes an unexpected turn that pushes the audience emotionally. Through it all, you can feel that the screenwriters and director are working through an Asian-American adoptee’s nuanced and complicated reality. The identity crisis is a constant battle, and Park nails all the little ways Audrey is burdened by it and when she rises above it. Park expertly unfurls the layers that Audrey’s shiny, put-together veneer hides away. Park is also hilarious as the film’s “straight man” with her naïveté and misplaced eagerness to fit in, revealing complicated biases that manifest in funny ways. A balance must be maintained with the characterization of Audrey, and Park manages to do so beautifully. This is an ensemble film, but Park shines incredibly bright.
This entire cast is perfection. There is an instant sense of magic between the four as soon as they share the screen together; it makes the comedy and emotional pieces much more engaging. The key to an ensemble is the balance between the cast. Sabrina Wu’s Deadeye is that one zany, slightly off-kilter member of that group that magnifies the fun in any scene they are in. Wu’s Deadeye is a dark horse, presenting as the typical “weirdo” but is far more than what we first expect. Wu is delightfully chaotic and endearing and a critical element for the soft, emotional core of the film.
Hsu’s holier-than-thou, bougie act is a riot, but like Audrey, Kat has a version of herself that she keeps under a manufactured cover. The fun of this character is seeing Hsu tear apart that cover to reveal the diabolically hilarious version of Kat that is highly relatable. Sherry Cola’s Lolo is the principal comedian of the group, with her lively, positive energy affecting everyone she is near and every space she occupies. Lolo is an archetype that is a staple in movies of this nature, yet Cola makes it her own with equal parts sweetness and wickedness. Cola and Park’s relationship is crucial to the film, but the pairing of Cola and Hsu and Park and Wu strengthen the connection and effectiveness of this friend group. They reveal new layers and dynamics that reflect the real-life realities of being in a sisterhood. Cola and Hsu’s banter and enemies-to-friends bit is a hoot, while Park and Wu gently layer the comedy with stirring, touching moments.
Of course, outside of the core four, shoutouts must be given to the men of the film. Audiences are treated to Desmond Chiam, the mandatory hot eye candy with a heart of gold. I salute him for his service and hope to see more of him. (RIP Partner Track, Z and Ingrid were end game!) Chris Pang and Ronny Chieng followed Lim from Crazy Rich Asians with roles that aren’t too dissimilar to the ones they played in Crazy Rich Asians, but Pang gives the audience a very welcome surprise. Rohan Arora is a fresh new face I hope to see more of. Alexander Hodge participates in one of the funniest sequences in the film, and he shines bright as he shares the screen with Hsu. And finally, Baron Davis is a joy to watch. He shares most of his scenes with Cola, and he can keep up with her antics and exceed all expectations.
Joy Ride is the gift that keeps on giving. Funny, heartwarming, and affirming. Adele Lim has a bright future as a filmmaker, and I know that I will be seated for all that she does. Cherry Chevapravatdumrong and Teresa Hsiao crafted a relatable, hilarious tale about messy and thirsty women. I would not be opposed to seeing them carry on the adventures of Audrey, Lolo, Kat and Deadeye in a sequel. I believe they can raise the bar for themselves.
All in all, Joy Ride is a joy. The cast is on point, the directing is fresh and engaging, and the writing is a blast. Joy Ride is a must-see; you’ll come out of the theatre with tears coating your cheeks and a silly grin. You will have an amazing time!
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