Amy Schumer, Goldie Hawn, Wanda Sykes, Joan Cusack, Tom Bateman, Ike Barinholtz, Christopher Meloni

Jonathan Levine

“Snatched” is very light on its feet. Even at 90 minutes, director Jonathan Levine’s comedy can wear thin, but it’s not without some kind-hearted laughs. Plus, as mother and daughter, Amy Schumer and Goldie Hawn are able to keep the comedy afloat even when it struggles to find momentum.

Emily (Schumer) is a little dissatisfied with her life. After losing her job and getting dumped by her boyfriend, all she has to look forward to is a vacation for two in Ecuador that she was meant to take with her ex. After a funny and relatable exchange with her mother Linda (Hawn) over her single relationship status on Facebook, Emily pays her a visit, which Linda thinks she only does when she wants something. They both love each other but have grown distant since Emily left home. After all her friends turn down the trip, however, Emily asks her mom to come along. Linda is happy to stay at the resort and read her book while her daughter parties with James (Tom Bateman), who she met at a bar earlier that day, but when James takes Linda and Emily out for an adventure, the mother and daughter get kidnapped. They manage to escape, but trouble continues to chase them throughout the jungle.

The film begins with a misleading text that makes us assume Emily and Linda are about to go on an insane adventure, but it never gets as crazy or as funny as one would hope with Schumer and Hawn on the run from criminals. In fact, the R-rated comedy often plays it safe, sometimes feeling more like a PG-13 film, although Emily and her mom’s South American adventure goes to some genuine places.

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Amy Schumer, Bill Hader, Brie Larson, LeBron James, Colin Quinn

Judd Apatow

Judd Apatow’s films often cover heavy, emotionally complicated territory, but they’re ice cold at the same time. The subject matter is relatable, but the manner in which it’s treated bears little resemblance to real life. (The most egregious offender: “This Is 40.” Now let us never speak of it again.) “Trainwreck,” by comparison, is the most honest, heartfelt film Apatow has made to date, and it’s hard not to notice that it’s also the first time he directed a script that he didn’t have a hand in writing.

Some back story, for the unfamiliar: Apatow has taken heat over the years for underwriting his female roles – and yes, that criticism came largely from Katherine Heigl, who cashed some monster paychecks after receiving a massive career boost by appearing in his 2007 film “Knocked Up,” therefore people accuse her of biting the hand that fed her, and while that may be the case, she’s not wrong – and perhaps this was Apatow’s attempt to make amends, by directing a script written by a woman (Amy Schumer). The crazy thing is, Schumer’s character in many ways embodies the very traits that Heigl protested (reckless, irresponsible, unaccountable), but with the female character in the lead role, you get something that previous Apatow films never provided, and that is perspective: we get both the ‘what’ and the ‘why’ of her character’s behavior. Also, there are no shrews in this movie. Apatow’s other movies were loaded with shrews. Who likes shrews that much?

Amy Townsend (Schumer) writes for S’Nuff, a Gawker-esque magazine with roughly 75% less humanity. She also parties nonstop and sleeps around, even though she has a boyfriend (John Cena). A fellow writer pitches an article about Aaron Conners (Bill Hader), a surgeon who’s come up with a revolutionary knee procedure that will greatly reduce recovery time for athletes. S’Nuff editor Dianna (Tilda Swinton, in full Anna Wintour mode) likes the story, but assigns it to Amy, because Amy has admitted that she hates sports, and Dianna likes the idea of the paradox. Amy surprisingly finds herself fascinated with both Aaron and his work, and when she unprofessionally consummates their professional arrangement, she does unthinkable things, like actually agreeing to spend the night at his place and generally being less afraid of commitment. Amy is confused by this new change to the game plan, and she responds to it the only way she knows how: self-destruction.

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